I 


iiHil 


PERSONAL  RECOLLECTIONS 


OF     TIIK 


ID  :r.  J^  Isdl  -A. 


OR 


Theatrical  Reminiscences, 


ICMBRACING 


Sketches  of  Prominent  Actors  and  Actresses,  their  chief  char- 
acteristics, original  anecdotes  of  them,  and 
incidents  connected  therewith. 


BY 


Henry  Dickinson  Stone, 


To  wake  the  sonl  by  gentle  strokes  of  art, 
To  raise  the  genius  ami  to  mend  the  heart." 


ALBANY,  N.  Y. : 

Charles  van  Benthuvsen  &  Sons. 

1873 

13510  4 


DEDICATION 


TO  THE 


jEdwin    ^orrest   "  Old    Guard," 


TO   THE 


^EMBERS  otvve  y^LBANY  HiSTRIONIC    ASSOCIATION 


AND   THE 


Admirers  of  the  Legitimate  Drama 
generally, 

THIS  WORK   IS   RESPECTFULLY  DEDICATED. 


p 


INTRODUCTORY. 


"Vain  is  his  Task  who  Strives  to  Please  ye  All." 


A^  apology  for  undertaking  a  Avork  from  some  incompe- 
tency, is  almost  as  common  as  a  preface ;  yet  such  an  apology 
the  Avriter  feels  himself  bound  to  offer,  for  he  considers  him- 
self incompetent,  for  several  reasons,  with  which  he  will  not 
trouble  the  reader,  to  write  well  of  the  many  shining 
dramatic  lights  that  during  the  past  half  a  century  or  more 
have  graced  tlie  American  stage.  It  might  be  asked,  in  the 
present  flood  of  publications,  why  was  a  work  of  this  kind 
attempted  ?  and  in  answer  to  such  a  question  we  can  truth- 
fully say  that  it  Avas  not  in  exact  accord  with  the  feelings  of 
the  Avriter,  but  at  the  earnest  solicitations  of  many  kind 
friends,  that  the  gathering  of  these  Keminiscences  Avas  com- 
menced, and  even  then  Avith  much  reluctance  and  diffidence 
did  Ave  enter  upon  the  task. 

The  preparation  of  the  folloAving  pages  has  given  us 
some  pleasant  employment  for  a  number  of  leisure  Aveeks. 
AVhether  they  Avill  prove  as  easy  in  the  reading  as  they  Avere 
in  the  Avriting,  is  another  question,  for  aware  that  our  state 
of  health  rendered  all  literary  exertion  impossible,  Ave  have 
not  attempted  to  come  Avithin  the  limits  of  a  pleasing  purity 
of  diction,  but  Avritten  these  simple  recollections  in  a  "  plain, 
unvarnished"  manner,  relying  upon  the  indulgence  of  the 


IV 

reader  not  to  criticise  them  too  closely,  but  remember  that 
with  us  the  iuditing  of  this  volume  was  a  pasthne  not  an 
occy.pation. 

It  has  been  our  care  to  embrace  as  many  historical 
sketches  in  this  work  as  will  be  of  general  interest  (in  rela- 
tion to  the  drama  and  its  exponents)  as  possible,  in  order 
that  its  value  may  be  for  more  than  a  day.  A  personal  and 
gratifying  intimacy  with  many  of  our  most  sterling  actors, 
many  of  whom,  alas  I  have  "gone  the  way  of  all  flesh,"  has 
enabled  us  to  speak  of  their  peculiarities  and  characteristics 
as  perhaps  few  others  can,  and  this  knowledge,  more  than 
aught  else,  has  given  what  especial  interest  there  nuiy  be 
attached  to  these  running  chapters. 

These  few  Avords  of  explanation  being  given,  Ave  have  only 
to  leave  these  sketches  to  produce  their  oavu  impression.  If 
they  serve  to  Avhile  away  a  dull  hour,  our  task  will  have  been 
accom})lished;  if  they  are  recei^'ed  Avith  public  favor,  Ave 
shall  indeed  be  gratified.  These  records  are  true  to  our  own 
impressions;  and  secure  in  this  main  particular,  Ave  have  no 
misgivings  in  offering  them  to  readers  Avhose  curiosity  and 
interest  about  the  distinguished  actors  and  actresses  of  their 
time,  claim  such  satisfaction  as  any  survivor  like  ourself 
may  be  able  to  give. 


EDWIN    FORREST. 


A  Question  for  Genealogists  to  Solve. 


There  are  doubtless  very  many  persons,  even  those  accus- 
tomed to  handle  our  Government  paper  currency,  who  have 
never  taken  particular  notice  of  the  engraving  which  embel- 
lishes the  backs  of  the  "Twenty  Dollar  Currency 
Notes,"  or  made  themselves  acquainted  with  the  subject 
represented  in  the  engraving.  This  engraving  is  a  fac- 
simile of  the  original  painting,  Avliich  graces  the  walls  of 
the  Capitol  at  AYashington,  and  represents  the  baptism  of 
Pocahontas,  at  Jamestown,  Virginia,  in  1613,  ten  years 
previous  to  the  landing  of  the  "Mayflower"  at  Plymouth 
Eock.  The  key  to  this  picture,  which  we  have  examined, 
gives  the  names  of  all  the  persons  present  at  the  baptismal 
ceremony  of  Pocahontas,  among  them  Mr.  and  Mrs.  For- 
rest and  child,  who  occupy  a  prominent  place  in  the 
picture.  This  Mrs.  Forrest,  it  appears,  "was  the  first 
gentleAvoman  Avho  arrived  from  England  in  the  Colony  of 
Virginia." 

NoAv,  whether  Edwin  Forrest  is  a  lineal  descendant  of 
this  Forrest  family  is  a  question  for  genealogists  to  solve. 


OUR    ENGRAVINGS. 


As  reorards  the  likenesses  of  Edwix  Forkest  and  Mrs 
Catharixe  Sinclair,  which  embellish  these  pages,  little 
need  be  said  on  our  own  part  in  their  praise,  as  they  speak 
for  themselves,  as  also  does  the  artistic  execution  of  the 
engravings  by  Mr.  Hiram  Ferguson,  designer  and  photo- 
graph engraver,  wliich  may  challenge  the  criticism  of  the 
most  exacting  connoisseur. 

The  photograph  of  Mrs.  Sinclair  was  taken  soon  after 
she  obtained  the  divorce  from  Mr.  Forrest.  She  is  repre- 
sented as  Lady  Teazle  in  the  "  School  for  Scandal."  The 
particular  scene  in  which  she  is  represented  is  the  famous 
one  Avhere  Lady  Teazle  is  discovered  by  Charles  Surface  and 
Sir  Peter,  secreted  behind  the  library  screen  of  Joseph  Sur- 
face. The  likeness  of  Mrs.  Sinclair  is  perfect  and  life-like, 
as  will  be  readily  admitted  by  those  who  have  eA'er  seen  her, 
especially  in  the  character  of  Lady  Teazle,  It  will  be  found, 
on  comparing  the  likeness  of  Mrs.  Sinclair  Avith  that  of 
Lady  AVashington,  there  is  a  remarkable  resemblance. 

The  photograph  of  Mr.  Forrest  was  taken  when  the 
great  actor  was  in  the  very  prime  of  life,  and  at  the  zenith  of 
his  histrionic  fame.  The  artist  has  represented  him  as  stand- 
ing in  his  library,  in  a  deeply  contemplative  mood,  his  hand 
gracefully  resting  upon  the  works  of  his  favorite  Shakspeare. 
Mr.  Forrest's  likeness  is  also  exceedingly  truthful  in  every 
particular. 

In  speaking  of  the  artist,  Mr.  Ferguson,  we  would  here 
simply  ask  Avhy  Albanians  need  go  to  New  York  or  Boston 
to  procure  their  work  done,  wlicn  tlu-y  have  competent 
artists  at  liome?  We  believe,  as  did  Edwin  Forrest,  that 
native  or  hovie  talent,  genius,  labor,  should  be  encouraged 
in  i>refercnce  to  that  of  a  foreign  character.  In  the  produc- 
tion of  these  engravings,  Mr.  Ferguson  has  done  himself 
credit,  and  it  is  very  doubtful  whether  his  work  could  be  sur- 
passed, if  equaled,  by  any  artist  in  the  country. 


CONTENTS. 


Chapter  I. 

PAGE. 

Old  Actors,  Old  Actresses,  Old  Theatres,  etc 1 

Chapter  II. 
The  Great  Edmund  Kean^Kiot 15 

Chapter  III, 
Green  Street  Theatre,  erected  in  1811 20 

Chapter  IV. 

The  Pearl  Street  Theatre,  erected  in  1825 2G 

Chapter  V. 
"William  Duffy's  First  Appearance,  etc 33 

Chapter  VI. 
Pearl  Street  Theatre,  with  the  different  Managers 38 

Chapter  VIL 

Old   Pearl  Street  Theatre,  William  Rufus  Blake,   his 

vanity 43 

Chapter  VII I. 

Tom.  Puller,  The  "'  Artful  Dodger  " 48 

Chapter  IX. 
yj  Grand  Firemen's  Ball,  Charlotte  Cushman  the  Belle. . .     53 


vm 
Chapter  X. 

Page. 

Eebuilding  The  Academy  of  Music,  The  Trimble  Opera 

House GO 

Chapter  XI. 

Division  Street  Academy  of  Music 64 

Chapter  XIL 

The  Odeon  Theatre— Anecdote  of  the  Elder  Booth 60 

Chapter  XIII. 
The  Gayety  Theatre — Castle,  The  Popular  Singer,  etc.,     67 

Chapter  XIV. 

».^dwin  Forrest,  The  Eminent  Tragedian 72 

Chapter  XV. 

yEdwin  Forrest,  His  First  Appearance  at  the  Old  Pearl 
^         Street  Theatre 78 

Chapter  XVI. 

y  Edwin  Forrest,  His  Generous  Donation  to  the  Young 
^  Men's  Association 87 

Chapter  XVII. 

Why  Mr.  Forrest  remained  so  long  on  the  Stage 04 

Chapter  XVIII. 
Mrs.  Catharine  Sinclair 97 

Chapter  XIX. 
Junius  Brutus  Booth,  His  First  Appearance 102 

Chapter  XX. 
Gustavus  V.  Brooke,  The  Irish  Tragedian 108 

Chapter  XXI. 
The  Celebrated  Comedian,  William  Warren 113 


IX 

/  Chapter  XXIL. 

Page. 

Cliarlotte  Oushman,  The  Great  American  Actress ]  17 

Chapter  XXIIL 

Edward  L.  Davenport,  His  First  Appearance  on  the 

Stage 121 

Chapter  XXIV. 
James  E.  Murdock,  the  Great  Actor  and  Elocutionist.  .   12-4 

Chapter  XXV. 
The  Albany  Histrionic  Association 120 

Chapter  XXVI. 
General  Theatrical  Reminiscences 141 

Chapter  XXVII.  U6 

Chapter  XXVIII. 

John  Biven's  Theatre 153 

Chapter  XXIX. 

Mons.  Mallet— Hacket 164 

Chapter  XXX. 

"  Pinkster  Day  "—Old  King  Charley 170 

Chapter  XXXI. 
Dummy  Allen — Forrest's  Costumer 177 

Chapter  XXXII. 
Capt.  Page's  Circus 181 

Chapter  XXXIII. 
Jim  Bancker — John  Gossin,  the  Clown 185 

Chapter  XXXIV. 
"  Nosey"  Phillips 188 


X 

Page. 
ClIAPTEK    XXXV.  192 

Chapter  XXXVI. 
Nichols,  Amphitheatre  194 

Chapter  XXXVII. 
Paddy  Burns,  and  His  Bugle 196 

Chapter  XXXVIII. 
John  Augustus  Stone,  the  American  Dramatic  Author,  199 

Chapter  XXXIX. 
Master  Payne,  Dramatic  Prodigy.  . 302 

Chapter  XL. 

Thomas  Cooper,  the  Celebrated  Actor 207 

Chapter  XLL 
George  Frederick  Cook,  and  John  Kemble 210 

Chapter  XLII. 

Tiie  Great  Actor,  George  Frederick  Cook 213 

Chapter  XLII  I. 
The  Old  Trowbridge  Museum 222 

Chapter  XLIV. 

The  Albany  Museum 228 

Chapter  XLV. 

New  Dramatic  Department  of  Museum 232 

Chapter  XLVL 

Anecdotes  of  Albany  Museum 236 

Chapter  XLVII. 
Origin  of  Negro  Minstrelsy 240 


XI 

Chapter  XLVIII. 

Page. 
Lord  Adancourt  and  the  Celebrated  Actress 242 

Chapter  XLIX. 

Carol i lie  Itichings. 247 

Chapter  L. 

Mrs.  8cott  Siddons 249 

Chapter  LI. 

William  J.  Florence 251 

Chapter  LIL 

Albany  Actors  and  Actresses 254 

Chapter  LIIL 

Actors'  Lives,  their  Labors,  etc 256 

Chapter  LIV. 
John  Hunbnry  Dwyer 260 

Chapter  LV. 
J  A  Pleasant  Episode — Charlotte  Cushman 262 

Chapter  LVL 
How  the  Printer  Collects  his  Bill 365 

Chapter  LVIL 

Female  Dramatic  Performers 268 

Chapter  LVIIL 
Amusing  Anecdotes  of  Edwin  Forrest 270 

Chapter  LIX. 
Anecdotes 273 

Chapter  LX. 
Charley  W.  Taylor — AVhy  he  became  an  Actor 277 


Xll 

Chapter  LXI. 

Page. 
Good  Friday — Conway 281 

Chapter  LXIL 
Encoring  Actors 384 

Chapter  LXIII. 
Remarkable  Stage  Effect 286 

Chapter  LXIV. 
A  Real  Tragedy— Effect  of  Good  Acting 289 

Chapter  LXV. 
Theatrical  Emeute 202 

Chapter  LXVI. 
A  Convenient  Dramatic  Record 305 

Chapter  LXVIL 
Amusements  in  New  York 31 1 

Chapter  LXVIII. 
Historical  Fire  Record 313 


THE  STAGE -THE  DRAMA. 


Amusement  with  Instruction  Blended." 


That  amusement  is  necessary  to  man,  the  most  su- 
perficial observation  of  his  conduct  and  pursuits  may  con- 
vince us.  The  Creator  never  implanted  in  the  hearts  of 
all  his  intelligent  creatures  one  common  universal  appe- 
tite Avithout  some  corresponding  necessity;  and  that  He 
has  given  them  an  instinctive  appetite  for  amusements  as 
strong  as  any  other  which  we  labor  to  gratify,  may  be 
clearly  perceived  in  the  efforts  of  infiincy,  in  tlie  exertions 
of  youth,  in  the  pursuits  of  manhood,  in  the  feeble  en- 
deavors of  old  age,  and  in  the  pastimes  Avhich  human 
creatures,  even  the  uninstructed  savage  nations  themselves, 
have  invented  for  their  relaxation  and  delight.  This  ap- 
petite evinces  a  necessity  for  its  gratification  as  much  as 
hunger,  thirst,  and  weariness,  intimate  the  necessity  of 
bodily  refreshing  by  eating,  drinking,  and  sleeping ;  and 
not  to  yield  obedience  to  that  necessity,  would  be  to  coun- 
teract the  intentions  of  Providence,  who  would  not  have 
furnished  us  so  bountiful!}'  as  He  has  with  faculties  for 
the  perception  of  pleasure,  if  He  had  not  intended  us  to 
enjoy  it.  Had  the  Creator  so  willed  it,  the  process  neces- 
sary to  the  support  of  existence  here  below  might  have 
been  carried  on  without  the  least  enjoyment  on  our  part ; 


2  The  Stage — The  Drama. 

the  daily  waste  of  the  body  might  be  repaired  without  the 
sweet  sensations  which  attend  eating  and  drinking;  we 
might  have  had  the  sense  of  hearing  without  the  delight 
we  derive  from  sweet  sounds;  and  that  of  smelling  with- 
out the  capability  of  enjoying  the  fragrance  of  the  rose; 
but  He  whose  wisdom  and  beneficence  are  above  all  com- 
prehension, has  ordained  in  another  and  a  better  manner, 
and  annexed  the  most  lively  sensations  of  pleasure  to  every 
operation  He  has  made  necessary  to  our  support,  thereby 
milking  the  enjoyment  of  pleasure  one  of  the  conditions 
of  our  existence. 

That  man  must  have  amusement  of  some  kind,  "  Na- 
ture speaks  aloud."  He,  therefore,  who  supplies  society 
with  entertainment  unadulterated  by  vice,  who  contributes 
to  the  pleasure  without  impairing  the  innocence  of  his 
fellow-beings,  and,  above  all,  who  instructs  while  he  de- 
lights, may  justly  be  ranked  among  the  benefactors  of 
mankind,  and  lays  claim  to  the  gratitude  and  respect  of  the 
society  he  serves.  To  that  gratitude  and  respect  the  dra- 
matic poet,  and  those  who  contribute  to  give  effect  to  his 
works,  are  richly  entitled.  Accordingly,  history  informs 
us,  that  in  all  recorded  ages  theatrical  exhibitions  have 
been  not  only  held  in  high  estimation  by  the  most  wise, 
learned,  and  virtuous  men,  but  sedulously  cultivated  and 
encouraged  by  legislators  as  matters  of  high  public  impor- 
tance, particularly  in  those  nations  that  have  been  most 
renowned  for  freedom  and  science. 

In  the  multitude  and  diversity  of  conflicting  opinions 
which  divide  mankind  upon  all,  even  the  most  manifest 
truths,  wo  find  some  ui)on  this  subject.  Many  well  mean- 
ing, sincere  christians,  have  waged  war  against  the  enjoy- 
ment of  pleasure,  as  if  it  were  the  will  of  God  that  we 
should  go  weeping  and  sorrowing  through  life.  The 
learned  bishop  of  Rochester,  si)eaking  of  a  religious  sect 
Avhicii  carries  this  principle  as  far  as  it  will  go,  says  :  "  Their 
error  is  not  heterodoxy,  but  excessive,  overheated   zeal." 


Introduction.  3 

Thus  we  find  that  the  Stage  has  ever  been  with  many  Avell 
meaning  though  mistaken  men,  a  constant  object  of  cen- 
sure. Of  those,  a  vast  number  express  themselves  with  the 
sober,  calm  tenderness  which  comports  with  the  character 
of  christians,,  while  others  again  have  so  far  lost  their  tem- 
per as  to  discard  in  a  great  measure  from  their  hearts  the 
first  of  all  christian  attributes — charity.  We  hope  for 
the  honor  of  Christianity,  that  there  are  but  few  of  the 
latter  description. 

There  are  men,  however,  of  a  very  different  mould ;  men 
respectable  for  piety  and  for  learning,  who  have  suffered 
themselves  to  be  betrayed  into  opinions  hostile  to  the  dra- 
ma, upon  other  grounds.  These  will  even  read  plays  and 
profess  to  admire  the  poetry,  the  language,  and  the  genius 
of  the  dramatic  poet,  but  still  make  war  upon  scenic  rep- 
resentations, considering  them  as  stimulants  to  vice,  as  a 
kind  of  moral  cantharides  which  serves  to  inflame  the  pas- 
sions and  break  down  the  ramparts  behind  which  religion 
and  prudence  entrench  the  human  heart.  Some  there  are 
again  who  entertain  scruples  of  a  different  kind,  and  turn 
from  a  play  because  it  is  a  fiction ;  while  there  are  others, 
and  they  are  most  worthy  of  argument,  who  think  that 
theatres  add  more  than  their  share  to  the  aggregate  mass 
of  luxury,  voluptuousness,  and  dissipation,  which  brings 
nations  to  vitious  refihement,  enervation  and  decay. 

It  might  not  be  difficult  to  prove  by  inference  from  a 
multitude  ol  facts  scattered  through  the  history  of  the 
world,  that  a  passion  for  the  dramatic  art  is  inherent  in 
the  nature  of  man.  How  else  should  it  happen  that  in 
every  age  and  nation  of  the  world  vestiges  remain  of  some- 
thing resembling  theatrical  amusements.  It  is  asserted 
that  the  people  of  China,  full  three  thousand  years  ago, 
had  something  of  the  kind  and  presented  on  a  public  stage, 
in  spectacle,  dialogue  and  action,  living  pictures  of  men 
and  manners  for  the  suppression  of  vice,  and  the  circula- 
tion of  virtue  and  moralitv. 


4  The  Stage — The  Drama. 

In  England,  where  the  clonds  of  religious  intolerance 
were  first  broken  and  dispersed  by  the  reformation,  the 
Stage  has  flourished,  and  exhibited  a  mass  of  excellence 
and  a  constellation  of  genius  unparalleled  in  the  annals  of 
the  world.  There  it  has  been  encouraged  and  admired  by 
men  whose  authority,  as  persons  deeply  versed  in  christian 
theology  and  learned  as  it  is  given  to  human  creatures  to 
be,  we  do  not  scruple  to  prefer  to  that  of  the  persons  who 
raise  their  voices  against  the  Stage.  Milton,  Pope,  Addi- 
son, Johnson,  Warburton,  bishop  of  Gloucester,  and  many 
others  have  given  their  labors  to  the  Stage.  In  many  of 
his  elegant  periodical  papers,  Mr,  Addison  has  left  testimo- 
nies of  his  veneration  for  it,  and  of  his  personal  respect  for 
players ;  nay,  he  wrote  several  pieces  for  the  Stage,  in  com- 
edy as  well  as  tragedy  ;  yet  we  believe  it  will  not  be  doubted 
that  he  was  an  orthodox  christian.  The  illustrious  Pope, 
in  a  prologue  which  he  wrote  for  one  of  Mr,  Addison's 
Plays  —  the  tragedy  of  Cako  —  speaks  his  opinion  of  the 
Stage  in  the  following  lines  : 

"  To  -wake  the  soul  by  tender  strokes  of  art, 
To  raise  the  genius  and  to  mend  the  heart, 
To  make  mankind  in  conscious  virtue  bold, 
Live  o'er  each  scene,  and  be  what  the}*  behold  ; 
For  this  the  tragic  muse  first  trod  the  stage, 
Commanding  tears  to  stream  through  every  age. 
Tyrants  no  more  their  savage  nature  kept, 
And  foes  to  virtue  wondered  how  tlwy  wept." 

"Warburton,  the  friend  of  Pope,  a  divine  of  the  highest 
rank,  wrote  notes  to  Shakspeare.  And  an  infinite  num- 
ber of  the  christian  clergy  of  as  orthodox  piety  as  any 
that  ever  lived,  have  admired  and  loved  plays  and  play- 
ers. If,  in  religion.  Doctor  Johnson  had  a  fault,  it  certainly 
was  excessive  zeal;  and  assuredly  his  morality  cannot  be 
called  in  question.  What  his  idea  of  the  Stage  was,  may 
be  inferred  from  his  labors  and  from  his  private  friend- 
ships.    His  preface  to  Shakspeare;  his  illustrations  and 


Introduction.  5 

characters  of  the  Bard's  plays ;  his  tragedy  of  Irene,  of 
Avhich  he  diligently  superintended  the  rehearsal  and  rep- 
resentation ;  his  friendship  for  Garrick,  and  his  constant 
attendance  on  the  theatre,  loudly  proclaim  his  opinion  of 
the  Stage.  To  him  who  would  persist  to  think  sinful  that 
which  the  scrupulous  Johnson  constantly  did,  we  can  only 
say.  in  the  Avords  of  one  of  Shakspeare's  clowns  —  "  God 
comfort  thy  capacity." 


THEATRICAL  REMINISCENCES. 


CHAPTER  I. 

Old  Actors — Old  Actresses — The  Influexce  and  Effects  of 
Good  Acting — Old  Theatres  of  New  York — The  Great  Ed- 
mund Kean  "  Emeute"  at  the  Park  Theatre,  &g. 

In  looking  over  a  copy  of  Appleton's,  we  fouud  an  arti- 
cle Avhich  greatly  interested  us,  reviving,  very  vividly, 
memories  of  scenes  and  incidents  of  the  past.  In  this 
article  reminiscences  of  the  old  theatres  of  New  York 
interested  lis  not  a  little.  Very  accurate  and  life-like 
illustrations  of  those  ancient  landmarks  are  also  given, 
the  illustrations  being  so  remarkably  truthful  that  any 
one  having  seen  the  original,  or  entered  their  portals,  will 
at  once  recognize  their  plain,  unostentatious  and  familiar 
faces,  or  fronts.  An  illustration  is  also  given  of  the  cor- 
ner-stone of  the  first  old  Park  Theatre,  which  stood  oppo- 
site the  City  Hall  Park,  between  Broadway  and  Beekman 
street,  and  was  erected  in  1795.  By-the-by,  at  the  second 
Park  Theatre  a  scene  occurred  that  will  long  be  remember- 
ed by  those  who  witnessed  it,  as  one  of  the  most  thrilling 
theatrical  emeufes  that  ever  transpired  in  this  country, 
with  the  exception,  perhaps,  of  the  celebrated  "Astor 
Place"  riot,  when  the  English  actor,  Macready,  was 
mobbed  and  driven  from  the  stage : — In  this  terrible  riot 
it  will  be  recollected  that  many  lives  were  lost  by  being 
shot  down  by  the  military.  The  scene  was  occasioned  by 
the  api^earance  at  the  Park  TJieatre  of  Edmund  Kean ;  he 


8  Theatrical  Reminiscences. 

was  pelted  with  all  sorts  of  obscene  missiles,  and  only 
allowed  to  play  Richard  III  in  dumb  show,  or  pantomime. 
We  will  endeavor  to  give  the  particulars,  having  been 
present  during  the  riot,  and  an  eye  witness  to  the  whole 
affair. 

The  first  theatre  erected  in  New  York,  it  would  seem, 
was  the  John  Street  Theatre,  in  175.3,  the  population  of 
the  city  at  that  time  being  only  10,000.  The  first  play 
bill  had  the  following  announcement : 

"The  historical  tragedy  of  King  Richard  III,  wrote  by  William 
Shakspeare,  and  altered  by  Colly  Gibber,  Esq.  Pit,  five  shillings; 
gallery,  three  shillings ;  to  begin  precisely  an  half  an  hour  after  six 
o'clock,  and  no  admittance  behind  the  scenes  !  " 

The  role  of  Richard  was  enacted  by  an  actor  of  the 
name  of  Kean,  supposed  to  have  been  a  relative  of  his 
illustrious  successor,  Edmund  Kean.  General  Washing- 
ton, while  a  resident  of  New  York,  and  while  President, 
frequently  visited  this  theatre. 

In  speaking  of  the  old  "  Chatham  Garden  Theatre," 
which  was  located  on  Chatham  street,  between  Sweeney's 
present  hotel  and,  if  we  mistake  not.  Pearl  street,  in  the 
rear  of  the  main  building,  and  in  the  centre  of  a  beautiful 
garden,  the  entrance  from  the  street  being  through  a  spa- 
cious hallway,  with  the  ticket  and  other  offices  on  either 
side,  we  would  say  we  are  reminded  of  many  of  the  names 
of  the  unequaled  dramatic  company  attached.  The  thea- 
tre was  uiuler  the  management  of  a  Frenchman  by  the 
name  of  Barrier,  and  was  managed  in  the  most  admirable 
and  acceptable  manner.  The  names  of  some  of  the  com- 
pany, as  near  as  Ave  can  recollect,  were  as  follows:  Henry 
Wallack,  brother  of  James  Wallack,  and  his  accomplished 
and  talented  wife;  Mr.  Dnrang,  Mr.  Scott,  who  Avent  by 
the  soubriquet  of  "  Long  Tom  Coffin,"  owing  to  his  im- 
mense size,  as  well  as  so  often  playing  "Long  Tom"  in  a 
nautical  play ;  Mr.  and  Mrs.  Harry  Williams,  accomplished 
artiste.     Mrs.  Williams  was  a  remarkable  woman,  often 


Theatrical,  Reminiscences.  9 

assuming  male  characters,  and  especially  that  of  '*'  Richard 
III,"  which  she  enacted  in  such  a  manner  that  she  received 
the  most  flattering  encomiums  of  popular  critics.  Henry 
and  David  Ebberlee,  their  two  talented  sisters,  were  dan- 
seuses  and  vocalists;  Mr.  and  Mrs.  Walstein,  who  were 
once  attached  to  old  John  Biven's  Theatre,  corner  of  Green 
and  Division  streets,  of  this  city,  also  Mrs.  Hatch,  an  ex- 
cellent actress,  who  was  at  Biven's  theatre ;  Alexander 
Simpson,  for  short  called  "Alic."  Simpson,  was  an  Albany 
boy,  and  served  his  time  as  a  printer  in  the  old  Albany 
Daily  Advertiser  office,  and  commenced  his  theatrical 
career  in  the  old  "  Thespian  Theatre,"  located  on  North 
Pearl  street,  opposite  the  Clinton  Park,  the  ground  of 
which  was  occupied  by  dwellings  at  that  time.  Many  old 
theatre-goers  Avill  remember  the  names  of  the  above  men- 
tioned actors  and  actresses. 

The  record  of  the  old  play-houses  has  a  very  sad  value 
in  recalling  interesting  phases  of  the  social  life  of  New 
York,  and  also  brings  before  the  mind  of  the  reader  the 
great  changes  that  have  taken  place,  especially  in  dramatic 
representations.  For  twenty-five  years  after  the  first  play 
was  performed  in  New  York,  the  "  legitimate  drama  "  was 
in  the  ascendancy.  The  actors,  not  their  artificial  sur- 
roundings, were  the  centres  of  interest.  Scenery  and 
machinery,  spectacles  and  gaudy  efiects,  Avere  almost  un- 
known. Old  actors  and  audiences  shed  tears  over  the 
jierfection  of  imitated  nature.  Hyatt,  a  veteran  actor, 
was  so  overcome  by  the  performance  of  Helen  McGregor, 
by  Mrs.  J.  Dutf,  that  he  cried  from  emotion  like  a  child. 
[This  George  Hyatt,  alluded  to,  was  the  first  Ioav  come- 
dian of  Charles  Gilford's  unequaled  dramatic  company, 
of  the  old  Pearl  Street  Theatre  in  this  city,  and  of 
the  very  first  of  his  class;  he  also  possessed  high  literary 
attainments.  George  composed  several  popular  pieces  of 
music,  among  them  the  once  popular  song  of  the  "  Mel- 
low Horn,"  sung  with  great  effect  by  the  celebrated  vocal- 


10  Theatrical  Remixiscences. 

ist,  Phillips.]  We  saw  the  stock  actors  lose  their  presence 
of  mind  in  Sir  Giles  Overreach,  in  "  New  Way  to  Pay  Old 
Debts,"  and  actually  start  to  follow  the  prostrate  form  of 
the  elder  Booth,  as  he  was  borne,  in  the  last  scene,  faint- 
ing and  dying,  from  the  stage,  while  the  audience  arose, 
and,  pale  with  terror,  leaned  forward  with  painful  interest 
to  see  the  end  of  what,  for  the  moment,  appeared  a  real 
catastrophe  ! 

Clara  Fisher,  on  one  occasion,  sang  what  was  intended 
to  be  a  ludicrous  appeal  for  sympathy,  with  such  wonder- 
ful truthfulness  of  suffering,  that  a  majority  of  the  audi- 
ence were  overcome  with  tears.  [It  will  be  recollected  by 
many,  no  doubt,  that  Clara  Fisher,  iii  her  young  and 
palmy  days,  introduced  for  the  first  time  in  this  city,  at 
the  Pearl  Street  Theatre,  then  under  the  management  of 
Duffy  &  Forrest,  the  popular  and  affecting  ballad  of 
"  Home,  Sweet  Home,"  when  performing  the  role  of  Clara, 
in  the  "Maid  of  Milan."  At  last  advices,  December  15, 
1872,  Clara  Fisher  Maeder  Avas  doing  the  role  of  "  Old 
Woman  "  at  Aikin  Theatre,  Chicago,  and  yet  in  a  remark- 
able state  of  preservation.]  Such  incidents  are  character- 
istic examples  of  the  "old  school"  of  acting,  and  the 
most  enthusiastic  admirer  of  "modern  inventions"  must 
admit  that  the  old  theatres  of  New  York,  at  least,  sur- 
passed their  successors  in  holding  the  "  mirror  up  to 
nature,"  and  that  at  this  time,  Avith  but  few  honored  ex- 
ceptions, the  era  of  great  actors  and  actresses  has  passed 
away  with  the  temples  in  which  they  achieved  their  tri- 
umphs. Mrs.  John  Greene,  attached  to  Duffy  &  Forrest's 
Pearl  Street  company — a  great  favorite,  a  lady  of  the  high- 
est dramatic  attainments,  and  a  model  woman  in  public 
as  well  a.s  private  life — in  her  portrayal  of  Mrs.  Haller,  in 
the  "Stranger,"  Bianca,  in  the  " Italian  Wife,"  "Evadne," 
&c.,  &c.,  very  seldom  failed  to  work  upon  the  sympathies 
of  her  uudience,  by  throwing  such  intensity  of  feeling  and 


Theatrical  Reminiscences.  11 

earnestness  in  the  characters  as  to  have  the  entire  audience 
in  tears,  and  not  unfrequently  in  audible  sobs. 

Mr.  William  Duffy,  (Duffy  &  Forrest,)  while  doing  the 
role  of  Pliasarius  in  Forrest's  Gladiator,  portrayed  the 
crucifixion  of  the  gladiators  with  such  truthfulness,  nay, 
electric  effect,  that  portions  of  the  audience  would  posi- 
tively turn  their  faces  from  the  actor  during  his  recital 
with  utter  horror  and  disgust!  Even  Forrest,  at  times 
of  its  recital,  would  evince  an  unusual  degree  of  emotion, 
It  will  be  recollected  by  those  who  have  witnessed  the  play 
of  the  Gladiator,  that  portions  of  Spartacus'  (Forrest) 
army  were  taken  prisoners,  and  "no  quarters''  shown 
them  by  their  foes.  Along  the  highways  rude  crosses 
were  erected,  and  upon  each  cross  was  nailed  by  the  hands 
and  feet  a  living  gladiator — thousands  being  thus  cruci- 
fied. In  the  dreadful  agonies  of  death,  the  poor  wretches 
would  struggle  till  they  tore  their  hands  from  the  iron 
spikes  that  confined  them  to  the  cross,  and  attempt  to 
throw  their  bodies  outward,  madly  grasping  at  vacancy, 
their  bleeding  and  lacerated  feet  still  being  fastened  to 
the  cross !  It  was  this  scene  that  Mr.  Duffy  described  so 
fearfully  truthful  as  to  produce  the  effect  upon  the  audi- 
ence above  referred  to.  Mr.  Forrest  paid  Mr.  Duffy  the 
high  compliment  of  sajing  in  our  presence,  "  Duffy  is  the 
best  Phasarius  that  ever  played  with  me." 

At  the  representation  of  "  Mary  Stuart,"  in  Philadel- 
phia, when  Lord  Linsley  seized  Mary  by  the  wrist,  and 
left  the  impress  of  his  gauntlet  on  her  flesh,  Mr.  Wil- 
liam Forrest,  (brother  of  Edwin,)  as  Douglas,  stepped  be- 
tween and  says,  "  Shame !  shame  ! " — an  honest,  good- 
hearted  fellow,  sitting  in  the  pit,  near  the  stage,  his 
feelings  becoming  gradually  excited,  jumped  up  and  cried 
out  in  very  audible  tones,  "  So  it  is  a  d — d  shame !  Knock 
the  fellow  down,  Forrest,"  which  incident  not  being  in 
the  programme,  brought  down  the  house. 

There  appears  in  these  latter  days  so  much  of  the  \\-Ug- 


12  Theatrical  Reminiscences. 

itimate  drama,  so  much  of  the  flashy,  trashy,  sensational 
afloat  and  tolerated,  that  the  true,  solid,  intellectual  old 
tragedies,  comedies,  and  sterling  melodramas  are  wholly 
icrnored,  and  made  to  "  take  a  back  seat."  As  Hamlet 
says,  and  to  the  point,  too — 

"  'Tis  true,  'tis  true,  'tis  pity, 
Aud  pity  'tis,  'tis  true." 

The  old  John  Street  Theatre  was  erected  in  the  year 
1753.  Very  accurate  plate  illustrations  were  given  in 
Appleion's  of  the  two  Bowery  Theatres,  the  La  Fayette 
Theatre,  which  stood  in  Laurens  street,  near  Canal,  and 
the  old  National  Theatre,  corner  of  Leonard  and  Church 
streets.  The  National,  in  those  davs.  was  deemed  one  of 
the  most  beautiful  aud  commodious  establishments  of  the 
kind  in  New  York,  and  was  under  the  management  of 
the  veteran  actor,  James  Wallack,  Esq.,  father  of  J.  W. 
AVallack,  present  manager  of  Wallack's  popular  theatre  in 
New  York. 

It  is  a  somewhat  remarkable  fact  that  all  of  these  thea- 
tres were  destroyed  by  fire.  No  city  in  the  Union  has 
suffered  so  much  by  the  destruction  of  theatres  by  fire 
as  New  York.  The  theatres  tlius  destroyed  by  fire  are 
as  follows:  Park  Theatre,  July  4,1831;  Bowery  Thea- 
tre, May  28,  1821;  La  Fayette  Theatre,  1829;  Bowery 
Theatre,  Feb.  18,  1838;  National  Theatre,  Sept.  23,  1839; 
National  Theatre,  May  29,  1845 ;  Bowery  Tiieatre,  April 
28,  1845;  Niblo's,  Sept.  18,  1840;  Park  Theatre,  Dec.  16, 
1848;  Barnum's  Museum,  July  13, 1855  ;  Butler's  Ameri- 
can Theatre,  Feb.  15,  1866;  Academy  of  Music,  May  22, 
1866;  New  Bowery  Theatre,  Dec.  18,  1866;  Winter  Garden 
Theatre,  March  23,  1867;  Barnum's  Museum,  March  3, 
1868;  Butlers  American  Theatre,  April  8,  1868;  Theati-e 
Comique,  Dec.  4,  1868;  Niblo's  Garden  Theatre,  May  6, 
1872;  Lina  Edward's  Theatre,  Nov.  28,  1872;  Barnum's 
Circus,  Dec.  24,  1872;  Fifth  Avenue  Theatre,  Jan.  1,1873. 


Theatrical  Reminiscences.  13 

Some  of  the  above  have  been  burned  as  follows : 
Park  Theatre,  twice;  Bowery,  three  times;  National, 
three ;  Niblo's,  twice  ;  Butler's  American,  twice  ;  Barnum's 
Museum,  twice;  Barnum's  Circus  and  Menagerie,  once. 

Speaking  of  the  old  Bowery  Theatre  reminds  us  that  it 
was  here  that  Edwin  Forrest,  after  leaving  the  old  Pearl 
Street  Theatre  in  this  city,  (he  then  being  a  member  of 
Gilfort's   stock   company,)    commenced   his   career   as   a 
"star."     The  second  Park  Theatre,  which  in  its  day  was 
considered  the   theatre  of  New  York,   Avas   the   fovorite 
resort  of  the  wealth,  aristocracy  and  fashion  of  the  city, 
and  one  of  the  best  stocked,  best  appointed,  and  admira- 
bly managed  theatres  in  the  world.     It  was  conceded  that 
its  stock  company  Avas  never  before  equaled.     Many  old 
theatre-goers  will  no  doubt   remember  a  portion  of  its 
names,  which  we  give  from  memory,  and  are  as  folloAvs : 
Peter  Richings,  (foster  father  of  the  universally  admired 
and  accomplished  actress  and  vocalist,  Caroline  Richings,) 
then  in  his  prime,  and  a  finished,  genteel  comedian  and 
vocalist.      Henry  Placide,  a  very  versatile  and  brilliant 
actor.     [When  Edwin  Forrest  was  in  Europe  on  a  visit, 
he  Avas  asked  Avhom  he  deemed  the  best  American  actor ; 
he  promptly  and  unequivocally  replied,  "Henry  Placide  is 
unquestionably  the  best  general  actor  on   the  American 
boards,  and  I  doubt  Avhether  his  equal  can  be  found  in 
England."]      Thomas    Placide,   brother   of    Henry,   Mr. 
Fisher,  Mr.  Hilson,  the  original  representative  of  "  Paul 
Pry"  in  this  country,  and  inimitable  in  that  rule;  Mr. 
Wood,  Mr.  IsherAvood,  Mr.  AVheatley,  Mr.  Johnson,  John 
Barnes,  usually  called   '"old  Jack  Barnes,"  Obe.  AVood- 
hull.     [Here  Ave  Avould  remark,  that  Woodhull  Avas  the 
"heavy  man,"  doing,  of  course,  all  the  villains,  and  so 
naturally  did  he  not  only  look  but  act  the  villain,  tliat 
many  of  the  old  Park  patrons  positively  hated  the  man. 
The  "  gallery  boys,"  (always  an  important  theatrical  ap- 
pendage,) Avlieu  they  happened  to  meet  Woodhull  on  the 


14  Theatrical  Reminiscences. 

street,  -would  cry  out,  '-'There's  that  'ere  chap  what  played 
such  and  such  a  villian,  and  we're  all  d-o-w-u  on  him  any 
how."  A  more  flattering  compliment  could  not  very  well 
have  been  bestowed  upon  an  actor,  but  Obe.'s  excellent 
acting  always  aifected  him  financiaUy,  as  he  never  suc- 
ceeded in  getting  a  decent  "  benefit,"  until  Forrest  kindly 
volunteered  to  play  for  him,  and  the  benefit  was  a  "rouser ;" 
but  it  was  Forrest  who  drew  the  house.]  Chippendale,  and 
many  others,  among  them  Harry  Hunt,  well  known  to 
Albanians  as  a  member  of  Meech's  unsurpassed  comi)any 
at  the  old  Museum.  Mrs.  John  Drew,  the  enterprising 
manageress  of  the  Arch  Street  Theatre,  Philadelphia,  Avasa 
protege  of  Harry  Hunt,  and  by  him  brought  out  at  the  old 
Park  as  a  "  prodigy,"  under  the  name  of  ''  Louisa  Lane ;" 
when  grown  up,  she  became  Mrs.  Hunt.  In  some 
future  reminiscences  we  may  refer  more  fully  to  this 
talented  and  estimable  lady,  and  versatile  and  unequaled 
dramatic  artist,  who  played  all  roles  from  Lady  Macbeth 
down  to  such  juvenile  characters  as  the  ''Eaton  Boy," 
Fortunio,  &c.,  and  it  would  seem  that  this  lady,  at  the 
present  day,  even,  still  retains  much  of  the  sparkling  gen- 
ious  and  vivacity  of  former  days.  Mr.  Clarke,  an  admira- 
ble actor,  was  one  of  the  company  of  the  old  Park  Theatre. 
Among  the  actresses  were  Mrs.  Barnes,  Avife  of  Jack 
Barnes,  a  very  accomplished  comedienne  and  tragedienne, 
who  afterwards  became  a  star  of  the  first  magnitude,  play- 
ing in  the  principal  cities  with  eminent  success.  Theu 
there  were  Madames  Hilson,  Johnson,  Clarke,  the  two 
Misses  Wheatley,  &c.  One  of  the  Misses  Wheatley — 
Emma,  the  name  was — and  a  highly  accomplislied  and 
beautiful  young  lady,  retired  from  the  Park  stage,  after  a 
brilliant  dramatic  career,  and  became  the  wife  of  one  of 
the  distinguished  "merchant  princes"  of  New  York. 


CHAPTER  II. 

Teb  Great  Edmund  Kean  Riot  at  the  Old  Park  Theatre,  N'ew 
York — He  is  Hissed  and  Pelted  with  Missiles — Richard 
Played  in  Dumb  Show,  &g. 

We  close  the  sketches  of  the  old  theatres  of  New  York 
with  an  account,  as  nearly  as  our  memory  serves  us — 
having  been  present — of  the  great  emeute  theatricale,  on 
the  occasion  of  Kean's  appearance  at  the  Old  Park  The- 
atre as  Richard  III : 

It  would  seem  that  while  on  shipboard,  e7i  route  to 
this  country  from  England,  Kean,  in  one  of  those  "fits 
of  inebriety"  to  which  he  was  subject,  made  certain 
remarks  in  relation  to  our  institutions  which  were  con- 
sidered to  be  positively  ofiensive,  and  grossly  insulting,  to 
every  American  citizen.  The  report  of  Kean's  conduct 
spread  like  Avild-fire  immediately  after  his  arrival,  and  a 
firm  determination  was  at  once  formed  by  a  large  portion 
of  the  public  to  resent  the  insult,  as  summarily  as  circum- 
stances would  permit ;  and  this  determination  was  fully 
carried  into  effect,  on  the  appearance  of  Kean  at  the 
Park  Theatre. 

Richard  III,  his  great  and  favorite  role,  was  announced 
for  the  opening  night,  and  long  before  the  time  for  open- 
ing the  doors,  nay,  as  early  as  4  o'clock  in  the  afternoon, 
crowds  commenced  assembling,  and  before  7  o'clock  the 
entire   area  in  front  of  the   theatre   was   solidly   packed 


16  Theatrical  Eeminiscexces. 

with  a  surging,  excited  mass  of  humanity,  extending  far 
into  the  City  Hall  Park  !  "  Old  Hays,"  the  veteran  and 
redoubtable  detective,  and  a  "  terror  to  all  evil  doers," 
was  on  hand  with  a  strong  police  force  to  aid  in  prevent- 
ing any  acts  of  violence. 

When  the  doors  were  finally  thrown  open,  the  rush  was 
positively  fearful,  and  those  having  secured  seats  at  an 
early  hour,  were  obliged  to  "run  the  gauntlet,"  at  the 
hazard  of  getting  bruised  limbs,  shockingly  bad  smashed 
beavers,  buttonless  and  badly  rent  coats,  &c.  After  the 
house  was  filled  to  its  utmost  capacity,  the  ticket  sellers 
left  their  posts,  and  free  access  was  allowed  to  all  who 
chose  to  squeeze  in. 

As  the  curtain  "rang  up,"  the  scene  presented  in  front 
beggars  all  description.  Such  a  perfect  ocean  of  heads — 
'such  excitement — such  a  roar  of  voices,  was  probably 
never  before  witnessed  on  an  occasion  of  the  kind.  Of 
course,  there  was  not  a  solitary  female  present  iu  the  audi- 
torium. At  length  Kean  entered  from  the  right  wing, 
looking  quite  pale,  but  exhibiting  much  firmness  and  con- 
fidence, and  was  at  once  greeted  with  a  perfect  storm  of 
hisses,  cat-calls,  and  terrific  yells!  but  the  storm  subsi- 
ded for  a  moment,  and  Kean  commenced  the  soliloquy, 
"Xow  is  the  winter  of  our  discontent  (slight  applause  and 
hisses)  made  glorious  by  this  son  of  York,  (yells)  and  all 
the  clouds  that  lowered  over  our  heads  " — here  the  storm 
that  had  been  so  long  brewing  burst  forth  in  all  its  inten- 
sity and  fury,  and  cries  of  "  llussle  him  off,"  "Down  with 
the  English  ingrate,"  "  He  can't  gull  us,"  &c.  Kean's  lips 
were  seen  to  move,  accompanied  by  nervous  gesticulations, 
but  not  a  word  he  uttered  was  heard.  Then  came  a  missile 
of  some  sort,  an  orange  or  ^g^g,  perhaps,  with  the  accom- 
paniment of  "  there,  d — m  you,  take  that."  One  of  these 
missiles  struck  Kean  on  the  side  of  his  head,  when  he  turned 
his  face  in  the  direction  wlience  it  came,  and  gave  one  of  his 
terribly  defiant  looks,  which  once  beheld,  would  not  soon 


Theatrical  Reminiscences.  17 

be  forgotten !  Kean,  of  course,  had  many  friends  pres- 
ent— mostly  Englishmen — who  made  spasmodic  attempts 
at  applause,  but  how  perfectly  impotent  were  their  efforts 
against  the  demoniac  demonstrations  of  his  opponents! 
Confusion  appeared  to  be  getting  worse  confounded, — 
pandemonium,  with  all  its  evil  spirits  let  loose,  would 
have  been  as  nought  in  comparison. 

The  play  went  on,  but  in  pantomime  or  dumb  show, 
especially  when  Kean  was  on  the  stage — the  rest  of 
the  play  was  but  little  disturbed,  the  rioters  taking  but 
little  interest  in  it,  as  it  was  Hamlet  to  them  with  Hamlet 
left  out.  In  the  scene  where  Eichard  stops  the  corpse  of 
King  Henry,  and  in  the  wooing  scene  of  Queen  Anne,  a 
huge  missile,  too  obscene  to  be  mentioned  in  print,  was 
hurled  upon  the  stage,  falling  directly  at  the  feet  of  Queen 
Anne  (Mrs,  Hilson).  At  this  juncture  of  the  affiiir  the 
husband  of  Mrs.  Hilson  sprang  from  a  side  wdng  and 
bore  his  wife  off  the  stage  in  a  lit  of  unconsciousness.  The 
play  proceeded  to  its  close  'mid  shouts,  cat-calls,  &c.,  in- 
terspersed with  a  shower  of  all  kinds  of  missiles.  As  many 
may  be  desirous  of  knowing  the  meaning  of  the  offensive 
missiles  being  thrown  upon  the  stage,  we  would  say  that 
it  was  intended  as  a  reminder  to  Kean  of  a  certain  liaison, 
or  affaire  cV amour,  with  the  wife  of  an  Alderman  Cox,  of 
London ! 

The  combat  scene  between  Eichard  and  Eichmond  was 
positively  terrific,  so  intensely  did  Kean's  acting  absorb 
the  undivided  attention  of  the  rioters,  and  there  was 
quite  a  calm  in  the  storm  for  several  minutes.  [We 
never  saw  the  equal  of  this  combat  scene,  except,  per- 
haps, that  between  the  elder  Booth  and  William  Duffy, 
in  Eichard,  at  the  old  Pearl  Street  Theatre,  in  this  city, 
when  Booth,  in  one  of  his  fearfully  earnest  fits,  fought 
with  a  desperation  that  is  utterly  indescribable.]  Kean, 
fighting  with  the  desperation  and  earnestness  of  an  en- 
raged tiger,  resembled  a  maniac  more  than  a  sane  man ;  the 
2 


18  Theatrical  Keminiscences. 

entire  contour  of  his  face  presented  a  most  repulsive  as- 
pect, and  it  was  with  Herculean  efforts  that  Eichmond 
prevented  Kean  from  inflicting  serious,  if  not  fatal  inju- 
ries upon  his  person.  Kean's  dying  scene  was  fearful  to 
behold,  and  we  venture  to  say  was  not  soon  forgotten  by 
those  present. 

The  curtain  then  dropped  upon  one  of  the  most  remark- 
able dramatic  scenes,  both  on  the  stage,  as  well  as  in  the 
auditorium,  that  probably  has  ever  occurred  in  the  history 
of  the  stage. 

Kean  did  not  again  appear  at  the  Park  for  some  time 
after  this  affiiir.  His  next  appearance  was  in  Boston,  when 
he  met  Avith  full  as  warm,  if  not  a  warmer,  reception,  as 
at  the  Park — threats  were  made  to  even  lynch  him,  in  Bos- 
ton— and  he  getting  wind  of  this,  made  a  hasty  "exit" 
through  the  private  entrance  to  the  street,  in  the  disguise 
of  a  female,  a  la  Jeif  Davis,  but  he  was  more  fortunate 
than  Jeff.,  as  Kean  escaped,  while  Jeff,  was  caught  and 
"bottled  up!" 

Kean,  after  his  hasty  exit  from  Boston,  appeared  at  the 
old  Pearl  Street  Theatre,  in  this  city,  Dec.  13,  1825,  in  the 
character  of  Kichard  III,  and,  contrary  to  the  general 
expectation,  he  was  received  without  the  least  riot  or 
disturbance  whatever.  He  played  the  first  niglit  to  the 
fullest  house  ever  witnessed  in  this  theatre,  many  hidies 
were  present,  and  nothing  occurred  to  attract  the  atten- 
tion of  the  audience  from  the  masterly  acting  of  the 
"mimic  monarch."  The  '-'opposition,"  if  any  existed,  was 
overawed,  by  the  evident  respectability  of  the  house,  from 
commencing  any  affray.  After  the  tragedy  was  concluded, 
Kean  was  loudly  called  for  by  the  audience,  who,  on  his 
appearance,  greeted  him  with  a  burst  of  applause  which 
shook  the  edifice.  He  briefly  addressed  the  audience,  and 
expressed  his  gratitude  for  the  kindness  and  partiality 
evinced  towards  him  in  the  manner  of  his  reception  "in 
this  ancient  metropolis,"  and  retired  amid  the  most  enthu- 


Theatrical  Reminiscences.  19 

siastic  tokens  of  the  popularity  which  his  late  persecution 
had  secured  to  him. 

Kean  returned  to  New  York,  meeting  with  a  very  cor- 
dial reception ;  also  in  Philadelphia,  Boston,  etc.  Alba- 
nians seemed  to  take  the  right  view  of  the  matter;  they 
cared  nothing  about  the  piccadillos  or  short-comings  of  the 
MAN ;  they  desired  to  see  the  great  actor,  and  to  witness  his 
nnequaled  impersonations  of  Shakspeare's  grand  creations. 

It  is  said  that  long  before  he  appeared  before  the  audi- 
ence, his  countenance  betrayed  an  asliey  or  death-like  pale- 
ness, his  every  limb  trembling  like  an  aspen  ;  but  he  finally 
entered  from  the  right  wing,  as  usual,  and  was  received 
with — instead  of  hisses  and  a  storm  of  missiles — a  perfect 
storm  of  applause,  the  entire  audience  rising  to  their  feet 
and  waiving  their  hats  and  handkerchiefs.  So  much  was 
Kean  taken  back  with  this  demonstration  that  it  was  sev- 
eral minutes  before  he  was  enabled  to  proceed,  so  great 
was  the  reaction  ;  but  he  went  on,  and  it  was  said  he  never 
played  with  such  force  and  positively  electrical  effect  before. 
He  plaj^ed  out  a  week's  engagement  here  to  splendid  houses. 

It  would  seem  that  Albanians  possessed  more  of  the 
"  milk  of  human  kindness"  than  either  the  N'ew  Yorkers 
or  Bostonians,  they  deeming  him  sufficiently  punished  for 
his  indiscretions.  After  his  engagement  in  Albany,  he 
again  returned  to  New  York,  and  was  well  received.  As 
Shakspeare  says : 

"  All  the  world's  a  stasre, 
And  all  the  men  and  women  merely  players. 
They  have  their  entrances  and  their  exits, 
And  many  men  pla^'ing  many  parts." 

Kean  passed  through  a  terrible  fiery  ordeal,  coming  out 
a  wiser  if  not  a  better  man,  no  doubt.  He  played  many 
parts,  too,  both  on  and  off  the  stage,  as  we  have  shown  in 
the  above  sketches. 

Thus  ends  our  reminiscences  of  the  old  theatres,  old 
actors  and  actresses  of  New  York. 


CHAPTER  III. 

Green  Street  Taeatre  Erected  in  1811 — Attempts  made  to 
Prevent  Theatrical  Performances — Common  Council  Re- 
fuses TO  Interfere — Looking-Glass  Curtain — Theatre  Fi- 
nally Converted  into  a  Pork-Packing  Establishment. 

The  first  knowledge  we  have  of  theatricals  of  anv  sort 
in  Albany  is  that  which  Mrs.  Grant  communicates  in  her 
"  American  Lady,"  of  their  having  been  performed  by  the 
officers  of  the  British  army,  in  the  time  of  the  French  war, 
about  1759.  These  gave  such  offence  to  the  Dutch  Re- 
formed clergyman,  the  Rev.  Theodorus  Frelinghuysen, 
that  he  made  them  the  subject  of  severe  censure  in  his 
pulpit;  but  instead  of  affecting  any  reform,  a  very  singu- 
lar suggestion  was  made  to  him  to  depart.  He  found  at 
his  door  on  Monday  morning  a  staff,  a  pair  of  shoes,  a 
loaf  of  bread,  and  some  money.  This  so  wrought  upon 
his  feelings  that  he  left  his  charge,  crossed  the  ocean,  and 
was  never  more  heard  of. 

The  first  theatricals  in  Albany  were  enacted  by  a  com- 
pany of  comedians  from  New  York,  who  gained  permis- 
sion, for  one  month  only,  from  the  Governor.  They 
occupied  the  hospital,  which  stood  about  whore  the 
Lutheran  Church  now  stands,  on  Pine  street.  The  first 
play  was  "Venice  Preserved,"  July  3,  1769. 

In  1785  the  hospital  Avas  again  fitted  up  for  theatrical 
purposes,  and  opened  on  the  14th  of  December  with 
"Cross  Purposes,"  and  "Catharine  and  Petruchio,"  be- 
tween which  was  a  dance,  a  "La  Polonaise,"  and  an 
eulogy  on  Free  Masonry.     Tickets  were  sold  at  Lewis'  tav- 


Theatrical  Reminiscences.  21 

em,  as  no  money  would  be  taken  at  the  door.  Boxes  $1, 
gallery  50  cents.  A  vigorous  effort  was  made  to  prevent 
the  continuance  of  the  performances  by  a  number  of  influ- 
ential citizens,  but  the  common  council  determined  by  a 
vote  of  six  to  four,  that  they  had  no  legal  right  to  prohibit 
theatrical  exhibitions. 

In  1803,  a  company  calling  themselves  the  "  Old  Amer- 
ican Company,"  gave  an  entertainment  at  the  "  Thespian 
Hotel,"  in  North  Pearl  street.  They  opened  on  the  2d  of 
August,  and  continued  their  representations  several  weeks. 
This  house  a  Mr.  Hayman  seems  to  have  had  possession 
of  in  1810,  and  opened  it  on  the  14th  of  November,  with 
the  comedy  of  "  The  Poor  Gentleman,"  Mr.  Bates  speak- 
ing the  prologue. 

The  epilogue  was  spoken  at  the  end  of  the  comedy,  and 
was  followed  by  the  farce  of  "  The  Lying  Valet."  This 
company  concluded  the  season  on  the  28th  of  May,  1811. 
The  edifice  in  which  these  performances  took  place,  was 
first  known  as  "  Angus'  Long  Room,"  where  the  "  City 
Assemblies,"  as  they  were  called,  were  held — in  other 
words,  it  was  a  dancing  room. 

In  1801  the  "United  Presbyterian  Church"  held  their 
meetings  there.  It  seems  to  have  been  a  convenient  place 
for  almost  any  public  purpose.  It  was  finally  taken  down 
about  the  year  1835.  It  is  said  that  John  Burnard,  deci- 
dedly the  best  low  comedian  that  ever  appeared  in  Albany, 
had  an  excellent  company  at  this  place  for  one  or  two  sea- 
sons before  the  Green  Street  Theatre  was  erected.  Mr. 
and  Mrs.  Young,  Horton,  Anderson,  Johnson  and  Gra- 
ham, belonged  to  that  company,  and  Mrs.  Young  acquir- 
ed her  great  popularity  in  this  city  at  that  theatre,  in  the 
character  of  "  Adelgitha."  Hop.  Robinson  and  Dwyer  ap- 
peared here  as  stars  ;  and  the  "  Forty  Thieves  "  was  first 
produced  here,  William  Robinson  personating  Hasserack, 
the  last  of  the  Forty  Thieves.  Here  Avere  introduced  as 
stars,  many  of  the   most   celebrated  actors  of  the   day. 


22 


Theatrical  Reminiscences. 


Holman  and  his  daughter,  afterwards  Mrs.  Gilbert,  made 
their  first  appearance  here.  John  Howard  Payne,  author 
of  "  Home,  Sweet  Home,"  and  of  several  dramatic  pieces, 
appeared  on  this  stage. 

Theatrical  performances  were  also  given  at  a  house  fitted 
up  at  140  State  street,  and  in  a  wooden  building  on  the 
southeast  corner  of  Green  and  Division  streets.  Bliven 
carried  on  a  theatre,  which  was  known  at  orte  time  as  the 
"  Pavilion,"  and  was  afterwards  the  site  of  a  circus  and 
menagerie,  made  memorable  by  the  death  of  an  elephant 
in  it. 


Green  Street  Theatre. 

The  first  edifice  erected  for  the  purposes  of  a  theatre, 
was  begun  in  1811,  in  Green  street,  near  Hamilton,  and  it 
is  still  standing.  It  was  of  brick,  5G  by  110  feet;  Lewis 
Farnham  builder,  and  was  the  enterprise  of  a  joint  stock 
company,  consisting  of  .Tolui  Van  Ness  Yates,  Isaac  Han- 


Theatrical  Reminiscences.  23 

sen,  Geoi'ge  Sharp,  Isaac  Q.  Leake,  John  I.  Godfrey,  and 
others.  It  was  opened  by  John  Buruard,  and  an  excellent 
company,  18th  Jan.  1813,  with  "  The  West  Indian  and 
Fortune's  Frolic."  The  opening  address  was  written  by 
Solomon  Southwick.  In  this  company,  the  notabilities 
were  Mr.  Waring,  Mr.  Tyler,  Mr.  Southey,  Mr.  Dvvyer,  [Mr. 
Dwyer  died  in  this  city.  His  widow,  aged  66  years,  is  still 
living  with  Mr.  Vose,  on  Madison  avenue,  February, 
1873 ;]  Mr.  Young,  Mr.  Hopkins  Eobinson,  [Robinson 
married  the  daughter  of  the  late  Judge  Woodworth, 
who  resided  corner  North  Pearl  street  and  Maiden  lane, 
on  Dr.  Hun's  estate ;]  Mr.  Placide,  and  William  Robin- 
son— for  short,  called  "  Bill  " — Mrs.  Bernard,  Mrs.  Lewis, 
Mrs.  Wheatley,  and  Mrs.  Young.  The  prices  were — boxes, 
one  dollar ;  j^it,  seventy-live  cents ;  gallery,  fifty  cents. 
Mr.  Young  died  here,  and  his  widow  retired  from  the 
stage,  afterwards  marrying  the  Hon.  Mr.  Hughes,  and 
was  the  mother  of  Charles  Hughes,  Esq.,  late  clerk  of 
court  of  appeals.  She  afterwards  returned  to  the  stage, 
under  Burton,  in  New  York.  Many  of  the  habitues 
of  that  theatre  will  remember  her  admirable  rendition  of 
the  characters  of  "  Mrs.  Toodles,"  and  "  Lady  Sowerby 
Creamly,"  in  Avhich  she  was  unequaled.  On  the  death  of 
Mr.  Burton  she  retired  to  a  farm  in  AVashington  county, 
and  at  last  date  Avas  still  living. 

This  theatre  proved  to  be  a  good  speculation  during  the 
war  Avitli  Great  Britain,  after  which  there  was  a  general 
depression  of  business  and  it  remained  some  time  unoccu- 
pied. In  June,  1818,  it  was  sold  to  the  Baptist  society, 
and  was  dedicated  January  1,  1819.  The  Baptists  occu- 
pied it  until  1851,  when  it  Avas  sold  to  a  new  society  called 
the  ''People's  Church,"  which  lasted  but  a  short  time, 
and  in  1852  passed  into  private  hands.  It  was  re-sold 
to  a  theatrical  company  for  $6,000,  and  opened  5th  July 
under  the  lesseeship  of  William  S.  Preston.  On  the  12th 
of  August  following,  the  performances  were  brought  to  a 


24  Theatrical  Reminiscences. 

close  by  the  sheriff  taking  out  the  scenery.  On  the 
20th  December  it  was  again  opened,  greatly  improved  and 
decorated  by  "  Madame  de  Marguerites."  This  theatre 
had  a  glass  or  mirror  curtain,  which,  instead  of  a  "  drop," 
Avas  divided  in  the  centre  and  run  in  "grooves"  the  same 
as  the  side  "  scenes."  The  curtain,  which  Avas  very  beau- 
tiful, cost  fifteen  hundred  dollars  or  thereabouts,  and 
Avas  gotten  up  by  Riley,  Avho  kept  a  looking-glass 
manufactory  in  the  building  in  Green  street,  noAV  occu- 
pied by  our  old  friend  Hiram  Livingston.  When  the  au- 
ditorium of  the  theatre  was  full,  the  effect  produced  by 
the  reflection  of  this  immense  mirror  was  really  gorgeous 
and  novel  in  the  extreme — the  entire  audience,  especially 
in  the  parquette  and  dress-circle,  Avere  reflected  in  full, 
representing  a  double  audience,  and  shoAving  distinctly 
the  minutest  portion  of  the  ladies'  costumes;  so  perfect  in 
fact  was  the  reflection  that  the  disarrangement  of  a  lady's 
hair  could  be  detected,  and  if  any  "  billing  and  cooing  " 
Avere  going  on  betAveen  fond  lovers,  they  too  would  "  see 
themselves  reflected  there."  It  is  quite  doubtful  Avhetiier 
another  curtain  of  the  kind  Avas  ever  seen  in  this  coun- 
try, at  least  we  are  not  aware  of  any.  The  Avriter  saAV 
two  of  these  glass  curtains  in  Paris,  and  another,  if  we 
mistake  not,  in  a  small  theatre  in  Vienna.  [By  the  way, 
poor  Riley  came  out  minus  in  furnisliing  the  curtain, 
and  Avhen  the  theatre  "  bursted  np  "  had  to  take  back  his 
curtain,  the  glass  being  in  good  order.  The  author  of  this 
Avus  also  victimized  by  Madam  de  Marguerites  to  the 
tune  of  five  hundred  dollars  for  printing,  to  say  nothing 
of  newspaper  advertising,  &c.]  This  theatre  Avas  soon 
re-opened  by  W.  S.  Preston,  and  on  the  8th  of  Febru- 
ary, 1853,  Avas  sold  by  the  sheriff"  for  |!6,97o.  It  was  again 
opened  on  tlie  28th  of  March,  by  Edmund  S.  Connor,  hus- 
band of  Charlotte  Barnes,  the  daughter  of  the  old  come- 
dian, "Jack  "  Barnes — but  it  was  in  tlie  end  a  losing  con- 


Theatrical  Reminiscences.  25 

cern.  A  great  many  attempts  were  afterwards  made  by 
Charles  T.  Smith,  Davy  Barues,  and  others,  to  carry  on 
the  drama  successfully  at  this  place,  but  it  finally  sank  to 
a  very  low  grade  and  was  closed  in  despair.  In  the 
fall  of  1865  it  was  converted  into  a  "pork  packing"  estab- 
lishment by  Jennings,  one  of  the  most  famous  pork  packers 
east  of  the  great  lakes.  Immediately  after,  the  rear  Avail 
fell  down — a  disastrous  "  finale"  to  its  inglorious  career. 

Attached  to  the  early  dramatic  company  of  this  theatre 
was  Mrs.  George  Jones,  in  those  days  an  actress  of  consider- 
able dramatic  celebrity.  She  was  a  fine  looking  woman, 
though  rather  masculine  in  appearance,  and  pretty  well 
known,  especially  in  the  west,  by  the  sobriquet  of  the  "  Man 
Flogger  " — deriving  the  title  from  the  fact  of  her  having 
cow-hided  a  larger  number  of  actors  and  editors  than  any 
other  strong-minded  woman  in  the  country.  In  order  to 
have  things  "handy"  she  usually  carried  a  good-sized 
raw-hide  under  her  cloak.  The  mention  of  her  name 
brings  vividly  to  mind  a  little  incident  that  occurred  in  a 
Cincinnati  theatre.  Mrs.  Jones  was  playing  a  star  engage- 
ment at  this  theatre  at  the  time,  and  at  the  close  of  her 
engagement  she  went  to  the  "captain's  office  to  settle  " — 
but  the  manager  was,  to  use  a  modern  term,  being  well  up 
in  the  role  of  "Artful  Dodger,"  had  "vamoosed."  An 
attache  thinking  it  a  good  chance  to  perpetrate  a  joke  at 
the  expense  of  George  Stone,  low  comedian  of  the  theatre, 
pointed  out  George  as  the  manager — the  lady  at  once 
made  a  leap  towards  poor,  unsuspecting  George,  who 
was  standing  near  an  open  "  trap ;"  seeing  the  lady  ap- 
proaching, and  being  well  posted  in  her  style,  he  made  a 
sudden  dive  through  the  "trap,"  and  a  rapid  exit  out  of 
the  rear  of  the  theatre.  In  the  course  of  the  day,  Mrs. 
•Jones  met  George  and  made  a  very  humble  and  satisfactory 
apology.  "  All  right,"  replied  George,  and  went  on  his 
way  rejoicing. 


CHAPTER  IV. 

The  Pearl  Street  Theatre — ^I^aiies  of  First  Stockholders — 
When  and  Where  the  Incipient  Steps  were  Taken  for 
Building  it — What  they  had  to  Contend  with,  etc.,  etc. 

The  next  theatre  erected  exclusively  for  the  representa- 
tion of  the  legitimate  drama,  was  the  edifice  known  from 
time  immemorial  as  the  *'  Pearl  Street  Theatre."  It  was 
erected  by  a  joint  stock  company,  composed  of  some  of 
our  most  prominent  and  enterprising  capitalists,  in  the 
year  1825,  the  ground  upon  which  it  was  built  having  been 
donated  by  the  late  Isaac  Dennison.  The  architect  was 
Phillip  Hooker,  who  drew  the  plan  for  the  Xew  York 
State  Bank  on  State  street,  the  Boy's  Academy  in  the  park, 
and  other  prominent  public  buildings  in  the  city.  In 
those  days  this  theatre  was  admitted  to  be  one  of  the  very 
finest  establishments  of  the  kind  in  this  country.  It  was 
116  feet  deep,  60  feet  wide,  and  40  feet  high.  The  audi- 
torium consisted  of  a  pit  of  vast  dimensions,  extending 
under  the  boxes  nearly  to  the  front  vestibule.  The  stage 
was  52  by  58  feet.  There  was  also  a  spacious  refreshment 
room,  elaborately  furnished,  a  ladies'  boudoir,  and  a  large 
"  punch  room,"  as  it  was  called,  extending  the  entire  width 
of  the  building.  [The  following  is  a  list  of  the  original 
stockholders:  Stephen  Van  Rensselaer,  Tennis  Van  Vech- 
ten,  Gerrit  L.  Lansing,  Isaiah  Townsend,  John  Townsend, 
James  Stevenson,  Francis  Bloodgood.  Abel  French,  James 
McKown,  James  McNaughton.  Dr.  McNaughton  must 
be  the  only  surviving  stockholder.] 

This  theatre  was  opened  to  the  public  under  the  man- 
agement of  Charles  Gilfert,  Esq.,  on  the  18th  of  May, 


Theatrical  Rejsiiniscences. 


27 


1835,  under  the  most  flattering  auspices,  and  with  one  of 
the  most  thoroughly  efficient  dramatic  companies  ever 
organized  in  the  United  States,  or  perhaps  in  Europe, 
there  being  scarcely  a  member,  male  or  female,  but  what 


Old  Pearl  Street  Theatre. 

was  far  more  worthy  to  rank  as  a  "  star,"  than  scores  who 
now-a-days  make  large  and  ostentatious  pretentions  to  the 
title.  The  names  of  the  company  were  as  follow :  Charles 
Gilfert,  manager  and  musical  composer ;  Charles  Young, 
"  the  heavy  man  ;"  Edwin  Forrest,  tragedian ;  Anderson, 
tragedian  ;  Joe  Horton,  tragedian  ;  Lindsley,  tragedian  ; 
Morton,  tragedian  and  general  utility;  George  Barrett, 
light  comedian  ;  Rufas  W.  Blake,  comedian  ;  Barry,  gen» 


28  Theatrical  Reminiscences. 

eral  business ;  Faulkner,  dialect  and  old  man ;  John 
Augustus  Stone,  (author  of  "Forrest's  play  of  Matamo- 
ra,"'  and  other  plays,  and  a  near  relative  of  the  author  of 
this  work,)  eccentric  old  man ;  George  Hyatt,  low  come- 
dian ;  Spiller,  low  comedian  and  vocalist ;  Howard,  vocal- 
ist ;  Johnson,  general  utility  ;  Mrs.  Grey,  vocalist ;  Mrs. 
Gilfert,  tragedienne;  Mrs.  John  Augustus  Stone,  tragedy 
and  comedy;  Miss  Tilden,  comedienne;  Miss  Neville, 
Avaiking  lady ;  Miss  Robertson,  chambermaid ;  Mrs.  Bar- 
rett, old  woman. 

The  Pearl  Street  Theatre  forms  a  complete  history  of 
itself.  One  event  in  its  history,  at  least,  will  render  it 
ever  memorable,  or  while  the  nam.e  and  fiime  of  Edwin  For- 
rest lasts.  It  was  in  this  theatre,  it  will  be  remembered,  his 
unsurpassed  histrionic  genius  was  developed,  encouraged 
and  nurtured  by  an  Albany  public,  until  it  finally  impelled 
him  onward  and  upward  to  the  very  highest  niche  in  the 
dramatic  temple  of  fame  and  fortune.  The  innumerable 
and  varied  scenes,  incidents,  &c.,  that  have  transpired 
within  the  walls  of  this  venerable  edifice,  from  the  time 
of  its  erection  to  the  present,  Avould,  if  Avritten  out,  afford 
an  exceedingly  amusing  as  well  as  instructive  volume. 

Having  come  across  a  copy  of  the  bill  for  the  first 
night's  performance,  we  give  it  entire  : 

ALBAXT  THEATRE. 
The  inhabitants  of  Albaii}-  are  respectfully  informed  that  the  New 
Theatre  will  be  opened  "Wednesday  evening,  18th  of  May,  1825. 
Performances  four  nijihts  in  the  week.  Prize  Address,  written  by 
Thomas  Wells,  Esq.,  of  Boston,  will  be  spoken  by  George  Barrett. 
After  which  the  admirable  Comedy  of 

"  Laugh  "When  Yoti  Can." 

Gossamer Mr.  BaiTctt.  [  Tom Mr.  Singleton 

Bonus Mr.  Faulkner,  l  (.'iiarles  Mortimer. Master  Arthur 

Delville Mr.  Liudslay.  j  Mrs.  Mortimer.. Mrs.  .T.  A.  Stone 

Mortimer Mr.  Anderson,  j  Emily Miss  Roltertson 

Sambo Mr.  Spiiler.    Miss  "Gloomy Mrs.  BaiTett 

Costly Mr.  Kosser.    Dorothy Mrs.  Horton 

Gregory Mr.  Lamb. 


Theatrical  Reminiscences.  29^ 

Evening's  entertainment  to  conclude  with  the  admired  Farce  of 
"Raising  the  "Wind." 


Jeremy  Diddler Mr.  Ban-ett. 

Plainway Mr.  Faulkner. 

Plainwood Mr.  Liudslay. 

Sara Mr.  Hyatt. 


Richard Mr.  Lamb. 

Waiter Mr.   Singleton. 

Miss  Dorable Mrs.  Barrett. 

Peggy Miss  Robertson. 


Seats  for  the  lower  tier  of  boxes  can  be  taken  from  10  to  1,  and 
from  3  to  5  o'clock.  Box  tickets,  $1 ;  Pit,  50  cents;  GaUery,  25  cts. 
Doors  open  at  a  quarter  to  7  o'clock. 

A  first  class  orchestra  was  attached  to  this  theatre,  and 
all  its  appointments  were  upon  a  most  liberal  scale. 

Soon  after  the  opening,  the  eminent  actor,  Lucius  Ju- 
nius Booth,  made  his  dehut  in  this  city,  being  the  first 
star  that  appeared  at  the  Pearl  Street  Theatre,  and  was 
received  with  the  greatest  enthusiasm  by  a  large  and  fash- 
ionable audience ;  and  during  the  season  all  the  stars  of 
the  first  magnitude  appeared  in  rapid  succession,  viz: 
"Pat"  Keene,  the  vocalist ;  the  charming  young  English  co- 
median, Miss  Kelly;  Mrs.  Barnes,  Conway,  Cooper,  Hamb- 
lin,  Edmund  Keau,  and  other  dramatic  magnates.  Kean 
made  his  debut  at  the  Pearl  Street  Theatre  Dec.  8,  1825, 
as  Richard  III.  He  had  previously  been  driven  from  the 
Boston  stage  and  the  theatre  nearly  destroyed  by  the  mob. 
In  Albany,  however,  Kean  was  greeted  by  an  overflowing 
house,  the  crowd  being  so  great  that  many  retired  through 
fear  of  suffocation,  and  large  numbers  who  came  from 
Troy  and  the  surrounding  villages,  were  unable  to  obtain 
admission.  [For  a  full  and  graphic  description  of  the 
great  Kean  riot  at  the  Park  Theatre,  New  York,  see 
Chapter  II,  of  this  work,  giving  a  history  of  old  theatres, 
old  actors,  old  actresses,  &c.,  of  New  York.] 

We  would  here  state  for  the  information  of  old  play- 
goers, that  the  project  of  building  a  theatre  here  was 
first  broached  at  "  Bement's  Recess,"  No.  1,  Green  street, 
by  a  number  of  leading  and  wealthy  citizens,  who,  after  a 
brief  discussion  and  interchange  of  views,  decided  to  go 


30  Theatrical  Reminiscences. 

on  with  the  work  with  as  little  delay  as  possible.  Four 
of  tlie  stockholders,  viz.,  James  Stevenson,  Francis  Blood- 
good,  John  Towusend,  and  Tennis  Van  Vechten,  were 
each  afterwards  honored  with  the  title  of  "Mayor"  of  our 
city — for  it  ^uas  an  lionor  in  those  days  to  be  mayor,  or 
even  alderman !  These  were  the  men  who  inaugurated 
and  carried  out  successfully  an  enterprise  they  firmly  be- 
lieved would  result  in  a,2)0siHve  benefit  to  our  city;  and 
that  a  well  conducted  theatre  docs  produce  such  a  result, 
there  can  be  little  doubt.  The  enterprise,  however,  met 
with  spii'ited  opposition  from  men  of  contracted  views 
and  fanatical  notions  ;  but  notwithstanding  the  opposition 
and  the  doubts  and  "  predictions  dire,"  of  many  "  slow 
coaches" — for  this  class  of  persons  were  as  numerous  then 
as  now-a-days,  and  who  were  ever  ready  to  throw  a  wet 
blanket  upon  any  improvement  or  enterprise  that  did  not 
directly  "  put  money  in  their  purse " — we  repeat,  that, 
notwithstanding  all  these  obstacles,  these  public  spirited 
capitalists  pushed  the  enterprise  to  completion. 

In  speaking  of  "  Bement's  Recess,"  our  readers  will  par- 
don a  slight  digression  whicli,  we  trust,  may  not  prove  the 
less  acceptable,  as  the  ''  Recess "  was,  in  a  large  measure, 
identified  with  the  old  Pearl  Street  Theatre,  or,  at  least, 
with  its  inception.  This  "  Recess"  then  stood  in  the  rear 
of  the  south  end  of  the  Express  building,  corner  of 
State  and  Green  streets,  there  being  a  good  sized  court- 
yard fronting  on  Green  street,  the  main  entrance  being 
from  Green.  This  "  Recess  "  was  an  extensive  establish- 
ment having  numerous  and  very  spacious  apartments,  sit- 
ting rooms,  parlors,  lunch  rooms,  &c.  It  had  an  enviable 
celebrity,  far  and  near,  it  being  the  "head  centre"  where 
"  most  did  congregate  "  our  principal  business  men — mer- 
chants, doctors,  lawyers,  editors,  politicians,  devotees  of 
Epicurus,  and  lovers  of  good  company,  good  cheer,  and 
sumptuous  living  generally. 

Green    street,  in    tliose  days,  was   very  narrow,  being 


Theatrical  Reminiscences.  31 

scarcely  wide  enough  for  two  teams  to  pass  abreast.  It 
was  widened  many  years  ago,  as  many  of  our  older  citizens 
are  aAvare,  from  State  to  Hamilton  street.  Between  State 
and  Beaver,  there  were  three  hotels  besides  Bement's  Ec- 
cess — two  on  the  spot  Avhere  now  stands  "  Norton's  Block" 
— one  called  the  "Stone  House,"  kept  by  James  Colvin, 
father  of  Andrew  J.,  the  other,  the  ''  City  Tavern,"  kept 
by  Peter  Grermon,  and  the  third  on  the  corner  of  Green 
and  Beaver,  where  Hood's  jewelry  store  now  stands,  called 
the  "Albany  Coffee  House,"  kept  by  Christopher  Dunn, 
better  known  as  "  Kittv  "  Dunn,  father  of  our  worthv  fel- 
low  citizen,  "Tommy"  Dunn,  and  a  counterpart  of  jolly 
"  old  Crit,"  of  the  "  Old  Eagle,"  which,  with  so  many  other 
fine  hotels,  fell  a  prey  to  the  terrible  and  ever  memorable 
fire  of  1848.  The  Green  street  hotels,  as  well  as  the  "  Utica 
House,  "  Connecticut  Coffee  House,"  "  Montgomery  Hall," 
in  old  South  Market  street,  were  called  "  stage  houses,"  as, 
in  those  days,  stages  were  immense  institutions,  and  Al- 
bany was  the  grand  converging  point  for  them. 

Eegular  lines  were  run  by  Thorpe  &  Sprague,  Eice  & 
Baker,  Young  &  Walbridge,  John  Swan,  &c.,  from  Albany 
to  Boston  and  New  York,  in  the  winter  season,  Montreal, 
Buffalo,  Cherry  Valley,  &c. ;  and  in  the  summer  season,  to 
Saratoga,  Lake  George,  Niagara,  Lebanon,  Sharon,  and 
other  watering  places.  At  almost  all  times  of  the  day 
and  night  could  be  heard  the  rattling  and  rumbling  of 
heavily  laden  stages  over  the  rough  pavements,  accompa- 
nied by  the  sound  of  the  coachman's  horn,  and  the  crack- 
ing of  his  huge  whip,  handled  with  a  skill  that  none  but 
those  experienced  "  ribbon  holders  "  could  boast.  Land- 
lords, porters,  cartmen,  hackmen,  runners  and  "baggage- 
smashers,"  were  all  astir  on  the  arrival  of  the  stages. 
Even  now  one  can  fancy  he  hears,  far  above  the  din  of 
the  excited  crowd,  the  shrill  voices  of  those  old  sta^e  and 
steamboat  "  institutions,"  Chauncey  Dexter,  George  Bor- 
tle,  Willard  Adams,  and  Eichard  or  "  Dick  "  Graves  ;  for 


32  Theatrical  Remixiscences. 

there  was  occasionally  strong  opposition  in  the  stage  busi- 
ness then,  and  consequently  these  old  workers  Avere  brought 
"  to  the  rescue." 

There  were  no  railroads  then;  but  times  were  really 
good,  living  cheap,  rents  low,  taxes  nominal,  people  con- 
tented with  moderate  incomes,  no  thoughts  oi  gold,  or  the 
rise  and  fall  thereof,  no  gambling  in  stocks,  no  whiskey 
and  other  government  frauds  and  peculations;  in  fact, no 
boring  for  He  ! 


.      CHAPTER    V. 

south  pearl  street  theatre. 

"William  Duffy's  First  Appearance  Here,  Playing  Bertram — 
His  Private  and  Professional  Character — Extraordinary 
Memory — Business  Capacities — He  Assumes  the  Manage- 
ment OF  the  Pearl  Street  Theatre  in  the  year  1329 — 
Commences  the  Erection  of  a  Theatre  in  Buffalo — Cere- 
mony OF  Laying  the  Corner-Stone — Remarks  of  the  Mayor, 
and  Mr.  Duffy's  Response — R.  W.  Blake  Assumes  the  Man- 
agement. 

William  Duffy  made  his  dehut  in  Albany  at  the  South 
Peurl  Street  Theatre  July  23,  182;,  in  the  difficult  role 
of  Bertram,  one  of  the  favorite  characters  of  the  elder 
Booth.  Mr.  Duffy  came  from  New  Orleans,  where  he  had 
been  playing  as  a  stock  actor  for  some  time.  His  second 
appearance  here  was  in  the  tragedy  of  "  Venice  Preserved," 
he  doing  Jaffier  to  '-  Obe."  Woodhull's  Piere.  Mr.  Duffy 
was  a  native  of  Albany,  one  "to  the  manor-born,"  but,  as 
did  Forrest,  he  left  Albany  when  quite  a  young  man,  to 
seek  his  fortune  in  the  South  and  Southwest.  In  the  year 
1829,  after  playing  occasionally  at  the  South  Pearl  Street 
Theatre,  at  Providence,  R.  I.,  and  in  other  theatres,  he 
yielded  to  the  urgent  solicitations  of  many  friends,  and 
reluctantly  assumed  the  management  of  the  South  Pearl 
Street  Theatre.  He,  however,  deemed  the  venture  rather 
hazardous,  involving  large  responsibilities,  especially  at 
that  time,  when  theatricals  were  at  a  low  ebb  throughout 
the  country.  He  was  deemed  on  all  hands  to  be  one 
3 


fe 


34  Theatrical  Reminiscences. 

of  the  best  general  actors  in  the  country,  and  when 
Forrest  played  star  engagements  liere,  Mr.  Duffy  sec- 
onded him  in  all  his  principal  pieces.  In  the  role  of 
Pharsarius,  in  the  Gladiator,  Mr.  Duffy  won  golden  opin- 
ions from  all  sorts  of  people,  Forrest  pronouncing  him 
most  unequivocally  and  decidedly  the  best  Pharsarius  that 
ever  assumed  the  role.  Mr.  Duffy  possessed  a  most  re- 
markable memory.  It  was  seldom  that  he  more  than 
glanced  or  ran  over  his  part,  notwithstanding  Avhich  he 
was  generally  "  letter  perfect."  In  fact,  we  have  known 
instances  when  his  managerial  duties  required  much 
of  his  time  and  attention,  and  he  had  a  lengthy  part 
to  play,  he  would  don  his  "harness  theatrical"  a  short 
time  before  the  curtain  rose,  run  hurriedly  over  his  part, 
and  occasionally  "winging  it,"  to  speak  professionally, 
Avould  go  through  Avith  his  part  with  as  much  ease  and 
truthfulness  as  though  he  had  given  hours  of  study  to  it. 

Mr.  Duffy  was  peculiarly  and  admirably  adapted  to  the 
positions  which  he  held — acting  manager  and  actor.  His 
powers  of  endurance  were  very  marked — he  having  a 
splendid  pliysique,  besides  being  exceedingly  active  and 
energetic  in  all  his  multifarious  duties.  At  one  time  Mr. 
Duffy,  it  may  be  recollected,  was  running  the  Pearl  Street 
Theatre,  and  the  Arch  Street  Theatre,  Pliiladelphia,  his 
time  being  divided  between  the  two  places.  He  had  also 
in  contemplation — in  fact,  under  way — for  some  time  be- 
fore his  untimely  "taking  off,"  a  theatre  at  Buffalo;  his 
intention  being  to  establish  a  complete  line  of  theatres 
from  Albany  to  Buffalo,  taking  in,  in  course  of  time, 
Syracuse  and  Rochester.  Under  his  indefatigable  and 
judicious  management,  this  would  no  doubt  have  proven 
a  successful  enterprise  ;  his  extraordinary  business  capaci- 
ties affording  ample  assurance  of  such  result. 

Speaking  of  tlie  Buffalo  enterprise,  the  ceremony  of 
laying  the  corner-stone  of  the  theatre  occurred  on  the 
4th  January,  1835,  in  presence  of  the  mayor,  common 


Theatrical  Eemlniscences.  35 

council,  and  a  large  collection  of  citizens.  A  silver  plate, 
containing  the  following  inscription,  was  deposited  by  the 
master  builder  beneath  the  corner-stone : 

Buffalo  Theatre. 

Founded  by  "VTilliain  Duffy,  .1  auiiary  3d,  1835. 

L.  Howard,  Master  Builder. 

In  presence  of  E.  Johuson,  Mayor,  aud  Common  Council. 

The  mayor,  on  presenting  this  plate,  made  the  following 
appropriate  remarks : 

'•  We  are  called  as  witnesses  to  the  laying  of  the  corner- 
stone of  another  ornament  of  a  public  character  to  our 
city.  Modern  history,  for  more  than  250  years,  tells  of 
the  building  of  Temples  to  the  Muses  in  all  enterprising 
and  groAving  cities;  and  I  believe,  gentlemen,  you  will  all 
freely  accord  with  me,  tliat  few  more  years  are  to  elapse 
before  this  public  building  will  adorn  the  second  city  of 
this  Empire  State. 

"  We  welcome  you,  Mr.  Duffy,  and  cordially  wish  you 
success  in  your  enterprise." 

To  which  Mr.  Duffy  made  a  pertinent  and  appropriate 
reply,  speaking  of  the  rise  and  progress  of  the  "  City  of 
the  Lakes,"  the  enterprise  and  liberality  of  its  citizens, 
his  visit  to  it  in  years  past,  and  intention  long  cherished 
to  erect  an  edifice  of  this  character  so  soon  as  the  growth 
and  prosperity  should  reasonably  Avarrant.  That  time,  he 
was  happy  to  say,  had  arrived,  and  by  the  advice  of  many 
of  its  most  respectable  citizens,  aud  in  the  presence  of 
many  of  them,  the  work  had  been  commenced;  and 
Avhatever  might  betide  his  experiment,  he  should  never 
forget  the  open  hospitality  which  had  been  extended  to 
him,  the  frankness  with  Avhich  he  had  been  met  and  wel- 
comed; and  that  the  present  moment  would  be  cherished 
as  one  of  the  happiest  of  his  life. 

The  elaborate  and  very  efficient  manner  in  Avliich  Mr. 
Duffy  placed  Forrest's  new  pieces  on  the  stage,  viz :  Meta- 


36  Theatrical  Reminiscences. 

mora,  Gladiator,  Broker  of  Bogata,  and  Orolooso,  elicited 
very  flattering  encomiums  from  not  only  Mr.  Forrest,  but 
the  press  and  the  public  generally.  Mr.  Duffy  Avas  a  gen- 
tleman of  refinement  and  taste,  generous  heart,  highly 
respected,  and  an  ornament  to  the  profession  which  he  so 
much  loved. 

After  running  the  theatre  single-handed  for  some  time 
with  the  most  satisfactory  results,  Mr.  Duffy  connected 
himself  with  Mr.  William  Forrest,  brother  of  Edwin  For- 
rest, under  the  firm  name  of  Duffy  &  Forrest,  and  under 
whose  eflBcient  management  the  Pearl  Street  Theatre  was 
elevated  to  the  highest  standard  of  excellence  and  pros- 
perity. 

After  Mr.  Duffy's  death,  the  theatre  was  closed  for  quite 
a  time,  and  afterward  opened,  with  a  powerful  dramatic 
company,  by  Blake  &  Dinneford.  During  their  man- 
agement several  gorgeous  spectacular  pieces  were  brought 
out,  among  them  the  Bride  of  Abydos,  Xorman  Leslie, 
Cherry  and  Fair  Star,  the  Jewess,  and  several  other 
imposing  spectacles  which  were  run  many  consecutive 
nights  to  large  and  fashionable  audiences.  After  the  close 
of  the  season  under  the  management  of  Blake  &  Dinne- 
ford, the  theatre  was  re-opened  under  the  sole  management 
of  RufusAV.  Blake,  with  the  following  dramatic  company: 
John  R.  Scott,  R.  W.  Blake,  Nickinson,  llenkins,  Mossop, 
Germon,  Shinotti,  Gibson,  Smith,  H.  Anderson,  G.  Ander- 
son, Lansing,  Madison,  Leigh,  Burnett,  Mrs.  George  H. 
Barret,  {nee  Miss  Henry,  one  of  the  most  really  beautiful 
actresses  on  the  American  boards) ;  Mrs.  Blake,  sister  of 
Harry  Placide ;  Miss  Virginia  Monier,  a  remarkably  pre- 
possessing young  lady,  and  fine  actress;  Miss  Watts,  Mrs. 
Anderson,  Mrs.  Wright,  Mrs.  Monier,  (mother  of  Virginia 
Monier,)  Miss  Eliza  Monier,  Mrs.  DeGrouch.  The  corps 
de  ballet  consisted  of  the  Misses  Farren,  Ludlow,  Broome, 
Brookes,  Bruce,  and  ^fadam  Truss  as  principal  Ter])sico- 
rian  leader. 


Theatrical  Reminiscences.  37 

The  ballet  dancers  in  those  days  did  not  dress  so  closely 
to  imitate  nature  as  at  tlie  present  time;  though  when 
Madame  Houton  and  other  celebrated  danseuses  from 
Europe  first  appeared  in  this  country,  the  style  of  their 
costumes  was  carried  to  such  extremes  as  to  disgust  the 
female  portions  of  the  audiences;  consequently  an  appeal 
was  made  to  the  managers,  protesting  in  earnest  terms 
against  the  very  broad  innovations  made  upon  the  good 
old  plain  style  of  Terpsicorian  costume,  and  resulted  in  a 
decided  reformation. 


135194 


CHAPTER  VI. 

PEARL   STREET  THEATRE. 

Forrest  Leaves  the  Old  Pearl  Street  Theatre — Appears  as 
Othello  at  the  Park  Theatre,  Making  a  Successful  De- 
but— Afterwards  Appears  at  the  Bowery,  Playing  Eighty 
Consecutive  Xights  to  Crowded  Houses — Mrs.  Vernon — 
Sketch  of  her  Private  and  Dramatic  Character— Her 
Death  and  Burial — Different  Managers  of  the  Old  Pearl 
Street  Theatre,  &g. 

Eorrest  remained  at  the  South  Pearl  Street  Theatre  un- 
til Gilfert  relinquished  its  management  and  assumed  the 
management  of  tlie  New  Bowery  Theatre,  Xew  York,  the 
corner-stone  of  which  was  laid  April  15,  1826.  After  ap- 
pearing as  Othello,  at  the  Park  Tlieatre,  for  Obe.  Wood- 
hull's  benefit,  meeting  with  eminent  success,  and  receiving 
the  most  flattering  notices  of  Major  M.  Noah  and  other 
experienced  tlieatrical  critics,  he  commenced  an  engage- 
ment with  Gilfert,  at  the  New  BoAvery,  playing  some 
eighty  consecutive  nights  to  crowded  audiences.  At  this 
time  Forrest  had  reached  within  a  few  rounds  of  the  top 
of  the  dramatic  ladder  to  fame,  carrying,  as  the  saying  is, 
"  everything  before  him."  After  leaving  the  Bower}',  For- 
rest made  the  tour  of  the  States,  creating  a  furore  wher- 
ever he  appeared. 

After  Gilfert  left  the  Pearl  Street  Theatre  it  remained 
closed  for  some  months,  until  re-opened  by  George 
Barret,  Gilfert's  old  stage  manager,  who  had  a  very  effi- 
cient stock  company  comprising  many  of  the  members 


Theatrical  Reminiscences.  39 

of  Gilfert's  unsurpassed  company;  but  the  fates  appeared 
to  be  against  "  Gentleman  George,"  as  he  was  familiarly 
called,  and  he  was  obliged  to  retire,  and  take  a  position 
as  leading  genteel  comedian  in  one  of  the  New  York 
theatres.  The  exorbitant  rent  of  the  Pearl  Street  Theatre 
was  a  great  drawback,  as  it  took  the  lion's  share  of  the 
receipts  of  the  establishment. 

About  August  8th,  the  theatre  was  opened  by 
Henry  Wallack,  brother  of  the  eminent  actor,  James  "Wal- 
lack  founder  of  "Wallack's  Theatre,"  New  York,  with 
a  lirst-class  dramatic  company.  It  was  exj^ected  that  Wal- 
lack  would  appear  at  the  opening ;  in  fact,  he  was  to  have 
advertised  as  Eolla,  Mr.  Parsons  playing  Pizarro.  Wallaek 
had  been  on  a  pleasure  jaunt  South,  leaving  his  assistants 
to  run  the  establishment  during  his  absence,  and  on  re- 
ceiving information  of  the  proceeds  of  the  house  during 
his  absence,  they  not  proving,  perhaps,  to  be  sufficient  to- 
pay  his  lordship's  expenses  while  on  his  pleasure  trip, 
swore  in  the  bitterness  of  hiswu'ath  that  the  house  should 
be  closed,  and  remain  so  for  aught  he  cared,  sine  die  ;  and 
the  thing  was  done,  although  tliere  was  a  prospect  of  do- 
ing a  fair  business.  The  pure  English  blood  of  Mr.  Henry 
Wallaek  had  been  very  much  excited,  and  he  took  this 

method  of  "teaching  the  d d  Yankees  a  sense  of  their 

duty!"  And  perhaps  he  served  them  about  right,  as  at 
that  time  Americans  Avere  such  consummate  fools,  or 
toadies,  as  to  exalt  every  upstart  foreigner,  no  matter  how 
undeserving,  over  their  own  countrymen  ! 

At  this  time  both  the  theatre  and  splendid  amphitheatre 
on  North  Pearl  street  were  closed,  and  the  play-going 
public  for  a  time  experienced  a  perfect  dearth  in  the  way 
of  amusements. 

The  stockholders  leased  the  theatre  to  Mr.  Lement, 
(pronounced  Lema.)  who  kept  a  hotel  south  side  of  State 
street,  a  few  doors  east  of  Pearl,  but  soon  re-leased  it  to  Mr. 
Sanford,  proprietor  of  tiie  La  Fayette  Theatre,  New  York. 


40  Theatrical  Reminiscences. 

Sanford  tlien  had  a  lease  of  the  North  Pearl  Street  Amphi- 
theatre, which  he  deemed  more  advantageous  to  close 
and  run  only  one  establishment.  Sanford's  dramatic 
company  was  considered  one  of  the  very  best  in  the  coun- 
try, with  Mr.  Burrough,  a  great  and  very  versatile  actor, 
as  stage  manager.  Mr.  Sanford  produced  all  ihe  sterling 
legitimate  old  comedies,  tragedies  and  melodramas,  be- 
sides spectacular  pieces  gotten  up  on  a  most  mag- 
nificent and  elaborate  scale.  But  notwithstanding  the 
indefatigable  manner  in  Avhich  the  establishment  was 
managed,  the  unsurpassed  dramatic  company  attached, 
and  the  rich  intellectual  treats  nightly  presented,  the 
theatre  was  only  indifferently  supported,  and  Mr.  Sanford, 
after  struggling  hard  to  keep  the  ship  afloat  liad  to  strike 
his  colors,  and  surrender  with  a  much  lighter  exchequer 
than  when  he  came  hei'e.  During  Mr.  Sanford's  entire 
management  not  a  dollar  remained  on  the  debit  side  of 
any  man's  ledger  against  him,  and  he  left  the  city  with  a 
truly  honorable  record,  which  was  rather  a  rare  instance 
with  managers  even  in  those  days. 

Elijah  J.  Roberts,  editor  of  a  paper  called  the  Crafts- 
man, leased  the  theatre,  but  soon  found  it  an  up-hill  busi- 
ness, and  after  a  pretty  thorougli  depletion  of  his  purse, 
he  abandoned  the  enterprise,  and  again  assumed  the  chair 
editorial,  a  position  for  which  he  was  far  better  qualified 
than  running  a  theatre. 

George  Vernon,  with  a  full  and  talented  stock  company, 
succeeded  Roberts.  He  continued  the  management  of 
the  theatre  for  several  months,  when  his  health  became  so 
greatly  impaired — losing  his  voice — that  he  was  obliged 
to  relinquish  his  interest  in  the  establishment  and  retire 
to  a  farm  he  had  purchased  a  few  miles  west  of  this  city 
Mr.  Vernon  was  one  of  nature's  noblemen,  a  gentleman 
of  the  old  school,  higlily  educated,  and  a  dramatic  artist 
of  the  very  first  order.  Mr.  Vernon  died  soon  after  he 
gave  up  the  theatre,  and  was  buried  in  the  old  Protestant 


Theatrical  Eeminiscences.  41 

Episcopal  burying  ground  on  State  street,  in  this  city. 
Mrs,  Vernon  erected  a  fine  tablet  to  his  memory.     Speak- 
ing of  George  Vernon,  brings  vividly  to  mind  his  estima- 
ble widow,  who  was  the  leading  female  artist  of  Vernon's 
company.     The  career  of  a  lady  like  that  of  the  late  Mrs. 
Vernon,  who  died  in  the  seventy-seventh  year  of  her  age, 
is  one  of  the  thorough  refutations  of  the  charges  often 
made  against  the  stage  and  its  surrounding  influences. 
Mrs.  Vernon,  who  had  passed  her  Avhole  life  in  active  ser- 
vice as  an  actress,  was  as  thoroughly  and  entirely  a  lady  as 
any  of  the  honored  matrons — American  wives  and  moth- 
ers— who  never  ventured  beyond  the  sanctity  of  private 
life.     To  the  present  generation  of  play-goers  she  was  not 
only  a  valued  artist  but  almost  a  traditional  name ;  for 
but  few  of  our  citizens  who  attend  theatrical  representa- 
tions have  done  so  further  back  than  1827,  when  Mrs.  Ver- 
non first  appeared  in  this  country.     Ever  since  that  date 
she  has  been  recognized  as  a  sterling  actress.     Every  face 
lighted  up  with  pleasure  Avhen   Mrs.  Vernon  entered  on 
the  scene.     Years  fell  upon  her  lightly,  and  though  they 
robbed  her  of  the  freshness  of  youth,  they  imparted  a  ten- 
der dignity  which,  while  it  assorted  Avell  with  her  time  of 
life,  did  not  destroy  the  sense  of  humor  and  the  delicate 
gaiety  that  were  always  so  characteristic  of  her  acting. 
For  many  years  our  theatre-goers  have  looked  upon  Mrs. 
Vernon  as  a  beloved  friend,  nor  was  this  friendly  feeling 
taxed  to  allow  her  failing  faculties,  as  is  so  often  the  case 
with  veteran  actors,  for  Mrs.  Vernon  up  to  Avithin  three 
months  of  her  death,  acted  with  as  much  Energy  and  skill 
as  at  any  time  during  the  last  twenty  years.     It  is  some- 
thing worthy  of  special  record  in  the  annuls  of  the  stage, 
that  an  actress  should,  in  her  seventy-seventh  year,  delight 
and  srratifv  as  much  as  she  did  when  she  was  forty.     The 
mere  fact  that  she  retained  the  memory  needed  to  play 
long  parts  to  this  advanced  age,  and  with  it  her  bodily 
activity,  is  as  remarkable  as  it  is  gratifying.     When  to  all 


42  Theatrical,  Reminiscences. 

this  it  can  be  added  that  she  inspired  in  private  life  an 
affection  and  esteem  even  greater  than  that  reflected  in 
her  public  associations,  it  will  be  seen  that  the  American 
stage  has  lost  in  her  one  whose  honorable  reputation  it 
must  ever  be  grateful  for. 

Mrs.  Vernon  Avas  a  native  of  Brighton,  England,  her 
maiden  name  being  Jane  Merchant  Fisher.  Shortly  after 
her  arrival  in  this  country  in  1827,  she  married  Mr.  George 
Vernon,  who  died  three  years  later,  leaving  a  young  widow 
who  never  after  changed  her  name.  At  the  Bowery  The- 
atre in  the  days  Avhen  it  was  one  of  the  most  prominent 
places  of  amusement  in  New  York,  and  at  the  Chatham, 
Park,  the  Old  Broadway,  Burton's  and  AVallock's,  Mrs. 
Vernon  has  played  a  great  variety  of  parts  in  the  wide 
range  of  modern  comedy.  In  her  younger  days  she  took 
the  leading  characters,  but  for  many  years  past  has  been 
known  by  her  inimitable  representations  of  "  first  old 
women."  Mrs.  Skeleton  was  a  personation  in  which  she 
excelled;  Mrs.  Malaprop  was  one  of  her  favorite  parts; 
and  as  the  housekeeper  in  "  The  Old  English  Gentleman," 
she  mingled  with  the  absurd  elements  of  the  character  a 
touch  of  pathos  that  was  as  beautiful  as  it  was  natural. 
She  never  overstepped  the  modesty  of  nature,  and  she,  a 
genuine  talent  and  an  accomplished  lady,  proved  how  un- 
necessary to  a  cultivated  mind,  are  the  extravagances  and 
"  dodges  "  wliich  so  many  of  the  actresses  of  the  day  deem 
essential  to  secure  success  and  popular  recognition. 

Mrs.  Vernon  was  a  regular  communicant  of  the  Pro- 
testant Episcopjtl  Church.  Her  funeral  in  New  York  was 
very  numerously  attended,  not  only  by  the  profession,  but 
by  a  large  representation  of  the  very  first  citizens  of  New 
York.  Mrs.  Vernon,  it  is  pretty  generally  understood, 
was  the  elder  sister  of  Mrs.  James  Maeder,  nee  CHara 
Eisher,  wlio  is  still  engaged  in  her  professional  capacity. 


CHAPTER  VII. 

OLD   PEARL   STREET  THEATRE. 

"William  Eufus  Blake— His  Vanity — His  Eccentricities— His 
Affaires  d'  Amour — His  Theatrical  Management — His  Suc- 
cess— How  HE  Lost  his  Dinner— The  Consequences  Thereof — 
The  Poor  Scotch  Cook,  and  her  Dilemma — Blake  goes  to 
Boston — Has  a  Laison  with  a  Beautiful  Boston  Bellb — 
Leaves  Boston,  and  goes  to  New  York,  etc. 

Old  play-goers  will  doubtless  well  remember  "William 
Eufus  Blake,  commonly  called  in  his  profession,  the 
"  Duke,"  who  assumed  the  management  of  the  Pearl  Street 
Theatre  after  the  dissolution  of  the  copartnership  of  Blake 
&  Dinneford.  The  private  as  well  as  dramatic  career  of 
Blake,  had  it  been  truthfully  written  out,  would  have  af- 
forded a  very  rare  treat  for  those  theatrically  inclined. 
We  can,  hoAvever,  give  only  an  inkling  of  some  of  the 
scenes  and  incidents  of  his  theatrical  career  while  in 
Albany. 

Blake,  we  think,  was  born  in  Nova  Scotia,  coming  to 
this  country  when  quite  young.  After  appearing  in  Bos- 
ton and  New  York,  he  was  engaged  by  Gilfert,  of  the  Pearl 
Street  Theatre — one  of  the  most  accomplished,  genteel,  or 
light  comedians  of  the  day,  and  withal  a  splendid  looking 
fellow — a  great  favorite  with  all  classes,  and  especially  the 
upper  classes  of  Albany — the  hemi  ideal  of  i\\e  female  por- 
tion, who  seemed  to  regard  him  as 

"The  glass  of  fashion,  and  the  mold  of  form, 
The  observed  of  all  observers." 


44  Theatrical  Keminiscences. 

Blake  became  more  of  a  favorite  among  some  distingue 
fair  ones  of  the  upper  classes  of  society  in  Albany,  than 
Avould  seem  fitting. 

Blake  left  the  Pearl  Street  Theatre  some  time  before 
Giltert  relinquished  it,  and  moved  to  Boston.  He  soon 
left  the  "  Hub,"  on  account  of  a  rather  important  affaire 
d'  amour  ^\ii\l  a  distinguished  belle  of  that  city,  and  ob- 
tained an  engagement  in  New  York.  He  often  boasted — 
for  he  was  inflated  Avith  vanity — that  he  was  actually 
obliged  to  leave  Albany  on  account  of  his  beauty  and  rare 
accomplishments ;  that  they  were  playing  the  d — 1  with 
all  the  pretty  women  in  the  city!  The  imposing  title  of 
"Duke"  was  given  to  Blake  on  account  of  his  high  aris- 
tocratic notions  and  bearing,  and  his  inflated  idea  of 
'•  having  come  of  gentle  blood."  Probably  Blake  thought, 
as  did  Madame  Melnotte  in  the  "  Lady  of  Lyons,"  that  her 
son  Claude,  "  though  he  was  not  a  Prince,  he  ought  to  be 
one,  as  he  looked  and  acted  so  like  a  Prince." 

Blake,  when  manager  of  the  Pearl  Street  Theatre,  made 
money  very  rapidly,  but  his  extravagance  in  living  ever 
kept  him  "  short."  He  had  an  exceedingly  fine  stock  com- 
pany, with  an  occasional  sprinkling  of  first-class  stars, 
and  produced  many  magnificent  spectacles  on  a  very 
elaborate  and  expensive  scale;  but  after  running  the  es- 
tablishment for  a  few  months,  he  relinquished  its  manage- 
ment and  went  to  New  York,  leaving  many  lasting  "re- 
membrances "  behind  him  in  the  shape  of  large  debit 
balances  on  many  a  ledger.  He  resumed  his  position  as 
leading  light  comedian  on  the  boards  of  one  of  the  metro- 
politan theatres.  In  later  days  he  became  quite  corpulent, 
and  finding  himself  approaching  the  "sere  and  yellow 
leaf  of  time,"  and  that  it  had  began  seriously  to  tell  upon 
him,  he  was  ol)liged  to  assume  the  role  of  "  old  man,"  at 
Wallack's  Theatre,  in  which  line,  and  at  which  theatre,  he 
was  playing  until  a  short  time  previous  to  his  death,  in 
1865  or"''CG. 


Theatrical  Eeminiscences.  45 

Blake  was  an  epicure  of  the  very  first  water — we  miglit 
safely  say  a  gormand — as  his  abdominal  proportions  in 
after  life  so  plainly  indicated.  He  would  never  forego  his 
dinner — his  principal  meal — for  either  pleasure  or  busi- 
ness, no  matter  how  pressing.  He  was  similar  in  this  re- 
spect to  old  Fallstaff,  who  would  forego  all  things  rather 
than  his  favorite  "  cup  of  sock ! "  There  are  many  very 
amusing  anecdotes  of  Blake  which  we  should  like  to  relate, 
but  must  be  content  with  one  only,  and  that  is  how  he 
'•'lost  his  dinner."  B.  occupied  rooms  adjoining  the  green 
room  in  the  Pearl  Street  Theatre,  where  he  and  his  wife 
kept  house.  For  his  dinner  he  had  ordered  a  splendid 
turkey.  His  directions  to  his  cook — a  buxom  Scotch  girl — 
were  to  have  his  dinner  ready  precisely  at  a  certain  hour, 
without  fail.  It  happened  that  he  was  unexpectedly  called 
to  Troy  on  business,  his  wife  accompanying  him,  and  was 
detained  considerably  beyond  the  time  appointed  for  dinner. 
B.  had  a  very  intimate  confidential  friend,  Avho,  happening 
to  drop  in  during  the  absence,  thought  it  an  excellent 
chance  to  perpetrate  a  joke  at  B.'s  expense.  He  accord- 
ingly took  the  turkej^  Avhich  was  nearly  ready  for  the  spit, 
and  secreted  it  in  an  under  closet,  Avhere  he  was  pretty 
sure  it  would  not  be  found  in  time  to  spoil  his  joke,  and 
hastily  left  the  theatre.  The  joke  was  favored  by  the  girl's 
stepping  out  to  procure  some  condiment  to  season  the 
trimmings,  leaving  the  field  clear  for  the  successful  oper- 
ator. The  girl's  feelings  and  astonishment  on  her  return, 
to  find  the  turkey  gone,  is  more  easily  imagined  than  des- 
cribed. At  length  B.  and  his  Avife  returned,  B.  rushing 
in,  his  appetite  having  been  sharpened  by  his  ride,  as  well 
also,  perhaps,  as  a  glass  or  so  of  eaic  de  vie,  on  the  Troy 
road.  On  reaching  the  inner  door  he  heard  loud  sobbing 
and  wailing  from  Avithin — they  came  from  the  bewildered 
girl,  who  was  lamenting  the  loss  of  the  turkey,  and  the 
attending  consequences  of  the  dreadful  mishap.  He 
opened  the  dooi',  and  exclaimed,  "  Good  gracious " — his 


46  Theatrical  Reminiscences. 

favorite  exclamation  — "  Margery',  what's  the  matter  ? 
Have  you  burnt  yourself  basting  the  turkey?  " 

"  Nae,  nae,  Mister  Blaik,  I  wish  it  wa'  na'  worst — oh  sic 
an  afiair — gin  I's  a  woman,  auld  Clotie,  that's  the  deil 
himsel',  and  his  imps,  them's  the  bogels,  ha'  tak'n  awa'  the 
crither!" 

"  Why,  what  do  you  mean — are  you  mad,  old  Clotie, 
bogles — you  don't  say  the  turkey's  gone,  and  if  so,  who 
took  it?" 

"  I  dinna  ken  Avha'  teuk  it,  but  it's  a  gane — I  dinna 
think  it  was  the  dog,  or  I  Avo'd  ha'  ken'd  it." 

"  Did  you  leave  the  room  for  any  length  of  time  ?  " 

"Just  aboon  sax  minutes  I  was  gang  awa'  to  get  a  wee 
bit  o'  somethin'  for  the  trimmins.  I'll  tak'  ma  aith  wi' 
ma  han'  upon  the  gude  book  I  was  na'  gan  aboove  sax 
minutes,  na  mair,  an'  I'm  sure  the  deil  himsel'  ha'  speerit'd 
it  awa'." 

Here  was  a  catastrophe,  indeed.  Cheated  out  of  his 
dinner!  Finding  it  was  useless  to  question  the  supersti- 
tious girl  farther,  diligent  search  was  made  for  the  stray 
turkey,  but  all  in  vain.  Then,  indeed,  did  Blake  enact 
the  "  Manager  in  Distress "  more  naturally  than  he  had 
ever  before  performed  it — also  Delph,  in  "  Family  Jars." 
Chairs  were  overturned,  dishes  misplaced  and  considerably 
damaged — a  blue  streak  of  something  that  would'nt  look 
well  in  print  coming  from  B.'s  mouth,  and  the  "de'l  him- 
sel' to  pay  generally.  Blake  did  not  feast  upon  the  plump, 
juicy  turkey  that  day,  but  made  a  luncheon  of  the  remains 
of  a  piece  of  corned  beef  that  happened  to  be  left  over. 
The  turkey  was,  however,  found  the  following  day,  none 
the  worse  for  ''laying  over;"  and  in  spite  of  poor  Mar- 
gery's "  bogles,"  Blake  had  a  sumptuous  feast,  to  the  great 
delight  of  all,  but  to  none  more  than  to  poor  Margery,  the 
Scotch  cook. 

Blake  was  pretty  well  satisfied  that  some  old  acquaint- 
ance had  perpetrated  the  hoax,  but  had  made  up  his  mind 


Theatrical  Reminiscences.  47 

to  say  as  little  as  possible  about  it.  It  was  some  two 
mouths  before  the  "cat was  let  out  of  the  bag."  This 
friend  and  Blake  being  at  a  private  free  and  easy,  "owned 
up,"  and  the  affair  was  pleasantly  discussed  over  several 
bottles  of  choice  Heidseick,  at  the  expense,  of  course,  of 
the  perpetrator  of  the  joke. 

Blake  used  often  to  tell  the  story  of  the  lost  turkey,  as 
well  as  the  lost  dinner,  when  with  a  convivial  party,  and 
enjoyed  the  joke  with  great  gusto. 


CHAPTER  VITI. 

Tom.  Fuller,  the  "Artful  Dodger" — His  Characteristics— His 
Sudden  and  Mysterious  Escape  to  New  York  —  Forrest 
Makes  His  Last  Appearance  at  the  Pearl  Street  Thea- 
tre—  Amateur  Performances  —  Master  Burke  and  Tyron 
Power — A  Row  at  the  Theatre — Preston's  Management — 
Theatre  Sold  to  St.  Paul's  Church — Church  Converted 
into  Academy  op  Music  by  John  M.  Trimble,  &c. 

Tom.  Fuller  succeeded  Blake  in  the  management  of 
this  theatre,  and  met  with  considerable  success.  His  stock 
company  comprised  members  of  the  profession  with  talent 
and  character,  and  had  Fuller  been  a  man  of  honor  or 
honesty,  he  might  have  had  a  splendid  success;  but  he 
was  truly  an  "artful  dodger" — a  name  he  won  from  those 
whom  he  had  made  to  suffer.  Forrest  played  a  two  Aveeks' 
engagement  under  Fuller's  management  to  overflowing 
audiences,  the  theatre  closing  the  last  night  of  Forrest's 
engagement,  the  house  being  the  largest  of  the  season. 
This  was  the  last  time  Forrest  appeared  at  the  old  Pearl 
Street  Theatre. 

Among  the  many  victims  to  the  dodge-game  of  Fuller 
was  Charley  Eaton,  the  young  tragedian  who  had  sup- 
ported Forrest  through  the  engagement  just  closed.  The 
day  after,  Charley,  with  a  huge  cudgel  in  hand,  searched 
the  premises,  but  Fuller  was  non-comatible.  Charley  de- 
clared, after  a  vain  search,  that  "had  he  found  him,  his 
life  would  have  been  of  no  more  account  than  that  of  a 
dog's."     It  appeared  that  F.  had  seci'eted  himself  in  the 


Theatrical  Reminiscences. 


49 


garret  of  Washington  Hall,  kept  by  jolly  Sam.  Fuller, 
(no  connection  of  the  manager,)  a  hotel  adjoining  the 
theatre  on  the  south,  and  there  remained  till  towards 
evening,  when  he  slipped  into  a  carriage  from  the  back 
door  of  the  hotel,  and  was  driven  down  the  river  to  a 
point,  where  he  was  taken  aboard  the  night  boat  in  a  small 
boat — (way-passengers  in  those  days  were  taken  aboard 
and  put  ashore  in  small  boats).  So  poor  Charley  was  left, 
with  many  other  victims  of  misplaced  confidence,  to  chew 
the  bitter  cud  of  disappointment. 

It  is  a  somewhat  remarkable  fact,  that  it  was,  in  1826, 
thirteen  years  before,  that  Forrest  made  his  first  appear- 
ance on  the  boards  of  this  venerable  edifice.  The  theatre 
was  then  closed  for  quite  a  length  of  time,  until  Mr.  W.  S. 
Preston  opened  it  with  an  excellent  company,  running  it 
with  very  fair  success  till  the  year  1839,  when  it  was  sold 
to  St.  Paul's  Church,  an  Episcopal  congregation  then  wor- 
shipping in  the  edifice  now  occupied  by  St.  John's  Catho- 
lic Church,  in  Ferry  street.  It  continued  as  a  church 
until  1862,  when  it  was  sold  for  114,000,  (it  originally  cost 
$25,000,)  and  in  December,  186.3,  was  opened  by  J.  M. 
Trimble  as  the  Academy  of  Music.  On  removing  the 
floor  of  the  church,  the  original  pit  and  orchestra  were 
found  to  have  been  left  as  they  stood  twenty  years  before, 
when  the  edifice  was  transformed  and  remodeled  for  a 
church.  Mr.  Trimble  fitted  up  the  old  edifice  in  splendid 
style,  and  opened  it  December  28,  1863,  with  the  play  of 
Lady  of  Lyons,  with  the  following  cast  of  characters : 


Claude  Melnotte Mr.  Stetson. 

Beauseant Mr.  Page. 

Col.  Demas Mr.  Ryer. 

Glavas Mr.  Ashley. 

Gaspard Mr.  Murdock. 


Deshapelles Sydnoy  Smith. 

Pauliue Anne  Wait. 

Mad.  Deshapelles.. Mrs.  La  Bmn. 
Widow  Melnotte.. Miss  Hampton. 


The  Academy  of  Music  was  considered  one  of  the  most 
successful  enterprises  of  the  kind  ever  undertaken  in  Al- 
bany, Mr.  Trimble  making  a  net  profit  of  $20,000  the  first 


50  Theatrical  Eemixiscexces. 

year.  After  the  death  of  Mr.  Trimble,  his  daughter,  Miss 
Georgiana,  (now  Mrs.  Lucieu  Barnes,)  who  possessed  much 
business  tact  and  capacity,  assumed  the  management,  and 
run  the  establishment  with  eminent  success  until  it  Avas 
destroyed  by  fire  January  29,  1868. 

During  the  intervals  between  the  various  managements, 
occasionally  amateur  and  other  performances  of  a  dramatic 
character  were  given  at  the  Old  Pearl  Street  Theatre.  Miss 
E.  Davenport,  who  has  since  figured  as  one  of  the  most 
charming  actresses — and,  as  Mrs.  Lander,  has  appeared 
with  such  eclat  in  England  and  America — opened  the 
theatre  for  several  nights,  just  after  she  had  entered  the 
profession  as  a  "  prodigy."  On  this  occasion  she  was  sup- 
ported by  several  members  of  the  old  Histrionic  and  For- 
restonian  Societies,  among  them  Stephen  Hutcliins  and 
Frank  Briare.  The  plays  Avere  Douglas,  Miss  Davenport 
doing  Young  Nerval ;  The  Four  Mawbrays,  Therese,  The 
Orphan  of  Geneva — Hutchins  doing  Carwin,  Quacken- 
bush.  Father  Fontaine,  and  Frank  Briare,  Mariette — and 
very  creditably  did  they  acquit  themselves.  Frank  had 
enacted  Julia,  in  the  play  of  the  Hunchback,  and  several 
other  female  characters,  with  success.  He  possessed  dra- 
matic talent  of  an  extraordinary  character,  and  would 
have  made  his  mark  had  he  followed  the  dramatic  pro- 
fession. 

Another  Dramatic  Festival  was  given  at  this  theatre, 
Avhen  Sheridan  Knowles'  fine  drama  of  the  Wrecker's 
Daughter  was  enacted,  the  performers  being  mainly  com- 
posed of  the  Histrionic  and  Forrestonian  Societies.  The 
arduous  role  of  Marian  was  personated  by  Frank  Briare, 
and  in  it  he  made  a  very  splendid  hit.  In  the  delivery  of 
some  of  the  soliloquies,  young  Briare  appeared  to  many 
competent  judges  present  the  counterpart  of  that  eminent 
actress,  Mrs.  John  Greene,  who  had  often  enacted  the 
character.  In  the  abstracted  scenes,  he  gave  a  bold  imita- 
tion of  those  celebrated  artists,  Josephine   Clifton  and 


Theatrical  Reminiscences.  51 

Julia  Dean,  wlio  had  made  the  character  a  specialty.  The 
part  of  Robert,  the  Wrecker,  was  enacted  by  James  Can' 
roll,  and  that  of  Black  Norris  by  Stephen  Hutchins,  and 
were  impersonated  in  a  manner  that  elicited  the  hearty 
approbation  of  the  large  and  respectable  audience  present. 
The  National  Brass  Band,  under  the  leadership  of  Lewey 
Undener,  volunteered  their  services  for  the  occasion,  and 
discoursed  excellent  music. 

COMPLIMENTARY   BENEFIT   TO   MR.   DUFFY. 

There  were  many  events  that  took  place  within  the 
walls  of  the  Old  Pearl  Street  Theatre  that  will  no  doubt 
be  well  remembered  by  old  play-goers,  two  of  them  having 
produced  at  the  time  no  little  excitement.  The  first  was 
the  complimentary  benefit  tendered  to  Manager  William 
Duffy,  which  was  indeed  a  brilliant  and  very  successful 
affair.  Our  leading  and  influential  citizens  took  a  lively 
interest  in  it — the  tickets  were  S3  each,  and  the  theatre 
was  graced  bv  the  beautv  and  fashion  of  the  citv.  It  was 
a  compliment  he  richly  merited  as  a  man  and  an  actor. 
Mr.  D.  was  called  before  the  curtain,  and  made  a  very  feel- 
ing and  appropriate  response. 

TYRONE  POWER. 

The  next  event  was  the  appearance  of  the  great  Irish 
comedian,  Tyrone  Power.  Power  was  inflated  with  very 
high  notions,  and  was  exceedingly  aristocratic ;  he  claimed 
to  "come  of  gentle  blood,"'  and  that  he  was  a  brother  of 
the  celebrated  Lady  Blessington,  priding  himself  verv 
highly  on  that  score,  and  deeming  himself  far  superior  to 
every  body  and  every  thing  in  young  Yankee  land.  It  ap- 
pears that  on  one  night  of  his  engagement  the  audience 
was  not  as  large  as  suited  his  fancy,  and,  to  use  his  own 
language,  he  said,  "I  Avill  not  play  to  such  contemptible 
houses."     This  at  once  aroused  the  indignation  of  many 


52  Theatkical  Eemijtiscences. 

prominent  citizens.  Handbills  were  circulated,  contribu- 
ting greatly  to  increase  the  flame ;  hissing,  howling,  and 
cries  of  "  Hustle  him  out,"  were  the  order  of  the  night. 
Power  attempted  to  speak,  showing  that  he  was  desirous 
of  making  an  apology,  but  could  not  be  heard.  John 
Greene,  stage  manager,  appeared,  and  the  house  was 
hushed ;  he  told  the  audience  Mr.  Power  wished  to  have  a 
hearing,  and  Avould  no  doubt  explain  himself  in  such  a 
manner  as  to  do  away  with  the  prejudice.  Still  it  was  not 
till  after  several  attempts  that  Power  was  enabled  to  speak, 
when  he  finally  made  a  rapid  statement  of  the  case,  and 
an  attempt  at  an  apology,  whether  sincere  or  not.  The 
play  was  finally  allowed  to  go  on,  in  pantomime,  however, 
for  the  clamor  was  such  that  scarcely  an  actor's  voice 
could  be  heard,  and  it  continued  till  the  fall  of  the  cur- 
tain. This  was  Power's  last  appearance  here.  He  was  one 
of  the  many  victims  in  the  ill-fated  steamer  President, 
lost  on  her  passage  from  Xew  York  to  Liverpool,  not  a 
vestige  of  the  passengers  or  steamer  ever  being  heard  of. 

DEMONSTEATION   AGAINST   MASTER   BURKE. 

When  the  celebrated  Master  Burke,  then  in  the  zenith 
of  his  fame  as  a  "  prodigy,"  appeared  at  this  theatre,  sev- 
eral of  his  countrymen  made  a  demonstration  against 
him,  the  provocation  being,  it  was  understood,  that  young 
Burke's  father  had  made  some  remarks  disrespectful  to 
Daniel  O'Connell,  that  keenly  touched  their  patriotic 
sensibilities.  Tlie  American  portion  of  the  audience, 
deeming  it  unjust  to  visit  the  sins  of  tlie  father  upon  the 
child,  espoused  the  cause  of  young  Burke.  For  a  time 
matters  assumed  a  serious  aspect ;  in  fact,  the  demonstra- 
tion reached  so  high  a  pitch  that  the  "watch" — for  we 
hud  no  "  Capital  Police"  in  those  days — were  called  to  the 
rescue,  and  the  active  and  leading  spirits  in  the  melee  were 
unceremoniously  ejected  from  tlie  theatre.  The  perform- 
ance was  then  allowed  to  go  on  without  further  disturbance. 


CHAPTER    IX. 

Grand  Firemen's  Ball — Its  Managers — Charlotte  Cushman  the 
Belle  of  the  Affair — The  Observed  of  all  Observers — 
Thomas  McMullen,  is  fcll  character,  as  Floor  Manager — 
Terrific  Sword  Combat  between  the  Elder  Booth  and 
William  Duffy — Richard  III,  in  Burlesque,  by  Geo.  Hyatt 
AND  old  Jack  Barnes — Richard  III  again  by  Hyatt  and 
Roberts — Col.  Pluck's  Spurs,  etc. 

Among  the  Tnemorable  events  that  occurred  in  this 
theatre,  were  tlie  celebrated  ball  in  honor  of  General 
Jackson  and  the  battle  of  New  Orleans — the  Firemen's 
Ball,  and  benefit  of  the  Young  Men's  Association,  on 
which  occasion  the  celebrated  Master  Burke  appeared  as 
Richard  III.  We  Avill  only  allude  to  one  of  these  balls, 
the  one  probably  surpassing  in  splendor  any  event  of  the 
kind  ever  gotten  up  in  Albany,  especially  by  that  noble 
body  of  men,  the  firemen.  This  ball  was  attended  not 
only  by  our  first-class  citizens,  but  by  large  numbers  from 
Philadelphia,  New  York,  Boston  and  other  cities.  The 
military  of  this  city  and  military  and  firemen  of  other 
cities  were  largely  represented.  Among  the  ladies  who 
figured  most  conspicuously  in  the  brilliant  throng,  was 
Charlotte  Cushman.  In  all  the  freshness  and  bloom  of 
youth,  magnificently  attired,  her  head  adorned  with  an 
immense  and  beautiful  bird  of  Paradise  ;  as  she  threaded 
the  mazes  of  the  dance,  or  moved  gracefully  in  the  prome- 
nade, her  stately  form  towering  above  her  companions, 
was  the  "  observed  of  all  observers,"  the  "  bright  particu- 
lar sbir  "  of  the  evening. 


54  Theatrical  Eeminiscences. 

The  space  occupied  for  dancing  included  the  entire  stage 
and  covering  of  the  pit,  affording  ample  accommodations 
for  over  fifty  sets — the  entire  circle  of  the  boxes  was 
elaborately  decorated  with  flags,  banners,  insignia  of  the 
department — massive  mirrors,  elegant  paintings  and  por- 
traits were  suspended  on  all  sides.  The  first  tier  of  boxes 
was  filled  with  that  portion  of  the  fair  assemblage  who 
chose  to  remain  as  "lookers  on,"  rather  than  join  in  the 
dancing.  The  most  gorgeous  portion  of  the  scenery,  such 
as  parlors,  castles,  woods,  streets,  courts,  mountains,  used 
in  the  representations  of  those  grand  spectacles,  "  Norman 
Leslie,"  *'  Bride  of  Abydos,"  "  The  Jewess,"  &c.,  were  ar- 
tistically arranged  around  the  stage,  and,  giving  additional 
beauty  and  grandeur  to  the  Itiiry  scene,  reminded  the 
spectator  of  oriental  scenes  desciubed  in  the  Arabian 
Nights. 

The  music — a  full  orchestra — was  under  the  direction 
of  Professor  Anthony  G.  Graves. "  An  entire  new  set 
composed  expressly  for  the  occasion  and  called  the  "  Fire- 
men's Cotillions,"  were  introduced,  in  parts  of  which,  Avith 
the  Kent  bugle,  drum,  violin  and  a  large  bell,  an  effect, 
resembling  all  the  noise,  bustle,  and  confusion  incident  to 
an  alarm  of  fire,  was  produced.  It  is  strange  these  once 
so  popular  cotillions  are  not  more  frequently  introduced 
at  our  large  balls. 

The  spacious  saloon  of  the  theatre  was  fitted  up  as  a 
gentlemen's  supper  room,  and  suits  of  rooms  in  B.  M. 
13riare's  large  cream  and  confectionery  establishment  ad- 
joining the  theatre,  Avere  elegantly  and  tastefully  fitted  up 
as  a  ladies'  supper  room,  an  entrance  having  been  cut 
through  from  tlie  theatre.  When  it  is  known  that  they 
were  furnished  by  that  well  known  caterer,  B.  M.  Briare, 
it  is  unnecessary  to  say  that  the  supper  and  accompani- 
ments Avere  recherche. 

Alderman  Thomas  McMullen  Avas  chairman  of  tlie  floor 
managers,  and  well  he  performed  the  duties  assigned  to 


Theatrical  Eeminiscences.  55 

him.  He  was  dressed  in  character,  satin  tights,  bhick 
swallow-tail  coat,  Avith  a  large  red  and  white  rose  looming 
out  on  either  breast.  "  Tommy"  was  a  character — active, 
energetic  and  ever  ready  to  take  a  hand  in  any  good  thing. 
He  was  the  first  man  who  essayed  to  reform  our  miserable 
militia  system,  by  getting  up  burlesque  parades  with  the 
raw  material,  and  dubbing  them  "  The  Fusilliers."  Sim- 
ilar parades  were  immediately  inaugurated  in  the  principal 
towns  in  the  State,  and  finally  resulted  in  giving  the  death 
blow  to  "  fuss  and  feathers "  of  the  old  general  training. 
Mr.  McMulien  received,  by  unanimous  consent,  the  title 
of  "Colonel  Reform,"  and  bore  it  with  modesty  and 
meekness  to  his  deatli. 

We  doubt  whether  the  fetes  and  balls  gotten  up  in  the 
present  fast  age  surpass,  or  even  equal,  those  given  so 
many  years  ago. 

The  following  gentlemen  were  managers  of  this  mag- 
nificent ball: — John  G.  Tread  well,  Charles  Gay,  Samuel 
Van  Vechten,  H.  J.  Clark,  W.  L.  McLaughlin,  C.  L. 
Woodruff.  B.  M.  Briare,  P.  B.  Leddy,  T.  L.  Booth,  R.  S. 
Cushman,  John  Brooks,  jr.,  C.  Vanderbilt,  J.  H.  Chad- 
wick,  J.  Linecare,  W.  W^  Jones,  George  B.  Steele,  J.  F. 
McPherson,  J.  L.  Badgely,  J.  0.  Wilson,  John  Osborn, 
Cornelius  Glenn,  H.  C.  Southwick,  C.  McLoughlin,  Philo 
Booth,  Alex.  Brown,  S.  H.  Strain,  John  Fredenrich,  H. 
H.  Yates,  Cornelius  J.  Cuyler,  S.  Putnam,  Jacob  Leonard, 
Jacob  Ten  Eyck,  W.  Harrison,  Thomas  McMulien,  E.  L. 
Hart,  James  Kidd,  Spencer  S.  Benedict,  J.  McPherson, 
Isaac  N.  Comstock,  P.  E.  Bowman,  John  W.  Cluett. 

This  event  took  place  over  thirty  years  ago.  Alas ! 
how  many  of  those  who  participated  in  these  joyous 
scenes,  have  passed  to  that  "undiscovered  country,  from 
whose  bourne  no  traveler  returns."  Of  the  managers, 
more  than  one-fourth  of  the  number  have  passed  away. 


56  Theatrical  Eeminiscences. 

combat  between  booth  and  duffy. 

"When  Lucius  Junius  Booth  was  plavinor  an  engacfement 
at  the  Pearl  Street  Theatre,  he  came  in  the  box  office  one 
morning  looking  quite  moody,  and  apparently  not  a  little 
out  of  sorts.  He  was  greeted  by  Mr.  Duffy,  with  a  "  How  is 
the  citizen  soldier  this  morning?"  {This  sohriqnet -was 
given  Booth  by  Mr.  Duffy,  and  as  such  he  was  pretty 
generally  knoAvn  in  the  profession.)  "  Well,"  said  DuflFy, 
"  it  seems  we  are  to  measure  steel  to-night."  "  Yes,"  re- 
plied Booth,  "and  I  charge  you,  by  all  that  you  hold 
sacred,  to  look  well  to  your  guard  in  the  combat  scene, 
for  I  am  in  fighting  trim."  "  Never  you  fear,  sir,"  was 
Duffy's  reply,  "you'll  find  me  fully  up  in  my  part  or  1 
much  mistake  myself."  And,  as  the  sequel  will  show,  he 
was  up  in  his  part,  for  Duffy  evidently  knew  that  Booth 
"  meant  mischief."  The  play  was  Eichard  III,  Booth,  of 
course,  doing  his  favorite  role  of  Eichard,  and  Duffy  that 
of  Eichmond.  Both  actors  were  in  fine  trim,  and  "  eager 
for  the  fi-ay." 

The  play  went  off  admirably.  Booth  never,  perhaps,  ap- 
pearing more  brilliant  in  the  character.  There  appeared 
to  be  a  premonition  among  a  few  of  the  audience  that  the 
combat  scene  on  this  occasion  was  to  be  something  more 
than  usual,  and  great  anxiety  was  evinced  to  see  it.  The 
combat  at  last  commenced,  and  a  terrific  one  it  was. 
Booth  having  worked  himself  up  to  a  high  degree  of  ex- 
citement in  the  battle  scene,  where  he  cries,  "A  horse!  a 
horse!  my  kingdom  for  a  horse,"  had  become  desperate. 
His  thrusts,  lunges  and  cuts  were  fearful.  Duffy  was 
cool  and  collected,  parrying  with  consummate  skill.  He 
was  an  excellent  fencer — sparks  of  fire  rolling  from  their 
swords,  the  chances  appearing  to  be  about  equal.  Booth 
finally,  finding  that  he  had  his  match,  resorted  to  his  old 
dodge  of  "  playing  down,"  or  "  driving  to  the  corner,"  his 
antagonist.  Duffy,  however,  was  fully  on  his  guard,  and 
by  making  a  "  feint,"  threw  Bootli  off  his  guard,  striking 


Theatrical  Reme^iscexces.  57 

Booth's  sword  with  great  force,  and  hurling  it  several  feet 
over  his  head. 

Booth,  evidently  greatly  chagrined  at  his  discomfiture, 
storming  and  fretting  like  a  caged  tiger,  quickly  made  vain 
attempts  to  regain  his  weapon,  but  finding  himself  much 
exhausted,  made  the  "  last  fall,"  thus  ending  one  of  the 
most  severe  stage  combats  we  ever  witnessed.  The  dying 
scene  of  Booth  was  truly  frightful — his  eyes,  naturally 
large  and  piercing,  appeared  to  have  greatly  increased  in 
size,  and  fairly  gleamed  with  fire  ;  large  drops  of  perspira- 
tion oozed  from  his  forehead,  and  coursing  down  his 
cheeks,  mingling  with  and  moistening  the  large  black 
ringlets  of  the  wig  he  usually  Avore  in  Richard,  caused 
them  to  adhere  to  his  face,  rendering  his  appearance 
doubly  horrible.  The  remarkable  portrayal  of  the  pas- 
sions— the  despair,  hate,  grief — in  the  passage  in  the 
original  text,  which  reads — 

"But  the  vast  renown  thou 
Ha*t  acquired  in  conquering 
Kichard,  doth  grieve  him  more 
Than  the  soul  parting  from  the  body," 

has  probably  never  been  surpassed,  even  by  George  "Fred- 
erick Cooke,  whose  Richard  is  said  to  have  excelled  all 
others. 

GEORGE   HYATT   AXD    OLD   JACK   BARNES. 

It  will  be  recollected  by  many  of  our  older  citizens  that 
on  the  corner  of  South  Pearl  and  Beaver  streets  stood  an 
old  yellow  brick  tavern,  called  the  "  Rising  Sun  Tavern," 
kept  by  Crosby,  and  at  a  later  date  by  Carter.  Speaking 
of  this  old  tavern,  which  was  afterwards  called  "  Crosby's 
Hotel,"  brings  to  mind  George  Hyatt,  the  inimitable  low 
comedian,  attached  to  Gilfert's  Pearl  Street  company. 
Hyatt  was  a  gentleman  of  polished  manners,  brilliant  in- 
tellect, and  a  highly  finished  education.  He  was  the  au- 
thor of  several  valuable  works,  and  possessed  a  fine  musical 


58  Theatrical  Reminiscences. 

taste  and  talent.  He  composed  several  popular  airs,  among 
which  Avas  the  beautiful  song,  "  The  Mellow  Horn,"  sung 
with  great  eclat  by  Phillips. 

Hyatt  had  a  benefit  at  the  "  Old  Pearl,"  doing  Richard 
to  the  Richmond  of  "old  Jack  Barnes,"  the  celebrated 
low  comedian,  for  many  years  attached  to  the  Old  Park 
Theatre,  New  York — the  piece  was,  of  course,  played  in 
iurlesque  throughout.  The  idea  of  two  such  eminent 
comedians  playing  tragedy,  was  sufficiently  novel  and 
ludicrous  to  attract  an  immense  audience,  and  it  was  kept 
in  continued  roars  of  laughter  throughout  the  perform- 
ance. The  combat  scene  between  Richmond  and  Richard 
was  as  good  as  a  score  of  lirst-class  farces.  During  the 
fiercest  of  the  combat  Hyatt  got  his  sword  between  his 
legs,  and  fought  with  his  back  to  his  antagonist,  as  if 
fearful  of  getting  a  slash  across  the  face  or  stomach. 
Barnes  was  equally  ludicrous  in  his  cuts,  parries,  thrusts 
and  guards.  After  Hyatt  had  fallen,  Barnes  stabbed  him 
a  la  posteriori,  and  raised  his  weapon  as  if  to  strike,  when 
Hyatt,  looking  up,  shook  his  fist  at  him,  and  exclaimed: 
"Jack,  would  you  hit  a  fellow  when  down— it's  foul- 
cowardly!"  Hyatt  then  made  preparations  to  die;  took 
off"  his  mantle,  folded  and  laid  it  down  for  a  pillow,  and 
quietly  laying  himself  down,  addressed  Richmond  (Barnes): 
"  Jack,  I'm  done  for— the  game's  up— go  and  treat,  and 
we'll  call  it  quits!" 

It  is  scarcely  necessary  to  say  this  brouglit  down  the 
house,  cheer  followed  cheer,  making  the  welkin  ring,  and 
continuing  till  long  after  the  curtain  went  down.  Hyatt 
then  came  forward  and  made  one  of  his  unique  and 
laughter-provoking  speeches. 

From  the  scene  in  Richard,  when  the  dead  body  of 
King  Henry  is  borne  in  upon  a  bier,  we  quote  the  dia- 
logue between  Richard  and  the  bearers  of  the  corse,  in 
order  that  it  may  be  more  fully  understood  by  the  reader: 

RiCHAKD — Take  up  the  corse,  sirs. 


Theatrical  Reminiscences.  59 

Beareks — Towards  Chertsey,  noble  Lord  ? 

Richard— No;  to  White  Friars;  there  attend  my 
coming. 

Hyatt  gave  the  following  version  of  the  above  text: 

Hyatt— No;  to  Crosby's  (meaning  Crosby's  hotel,) 
there  wait  my  coming,  and  weUl  have  a  drink  all  round! 

This  scene  also  created  great  applause,  a  large  part  of 
the  audience  rising  to  their  feet,  waiving  hats,  handker- 
chiefs, &c.  With  two  such  eminent  comedians  as  Hyatt 
and  Barnes,  this  was  probably  the  richest  burlesque  per- 
formance ever  witnessed  on  any  stage. 

ANOTHER   similar   SCENE. 

At  the  old  Chatham  Garden  Theatre  in  New  York, 
Roberts,  an  unsurpassed  low  comedian,  and  George  Hyatt, 
played  Richard  III — Roberts  appearing  as  Richard,  and 
Hyatt  as  Richmond.  Owing  to  the  singular  cast  of  char- 
acters, it  Avas  generally  expected  that  the  play  was  to  be 
a  burlesque,  but  with  the  exception  of  now  and  then  a 
Avord,  Roberts  closely  imitated  the  "proud  representative 
of  Shakspeare's  heroes,"  until  the  fifth  act,  when  the  an- 
ticipations of  the  crowded  audience  Avere  fully  realized  on 
beholding  the  crook-backed  tyrant,  his  boots  adorned 
with  the  celebrated  '•'  Col.  Pluck's"  huge  spurs,  which  had 
been  brought  on  from  Philadelphia  and  presented  to  the 
late  Col.  William  L.  Stone,  editor  of  the  old  New  York 
Commercial  Advertiser.  Col.  Stone  kindly  loaned  them 
to  Roberts  for  the  occasion.  Hyatt,  (Richmond,)  after 
having  slain  Richard,  slapped  his  arms  against  his  sides 
in  imitation  of  a  rooster,  and  crowed  three  times  at  the 
top  of  his  voice  in  triumph  over  Richard's  remains!  The 
eft'ect  upon  the  audience  can  be  imagined — the  applause 
elicited  lasting  for  a  long  time  after  the  curtain  fell. 


CHAPTER  X. 

THE   TRIMBLE    OPERA   HOUSE. 

Incipient  Steps  for  Rebuilding  the  Academy  of  Music — Jfu- 
MEROus  Plans  and  Movements  Fail — Ltjcien  Barnes  FinaIi- 
LT  Succeeds  in  Organizing  a  Company  to  go  on  with  it — 
Brief  Sketch  of  its  Management,  &c.,  from  the  Period 
OF  its  Opening  to  the  Present. 

After  the  burning  of  the  Academy  of  Music,  there  was 
for  a  long  time  perfect  dearth  in  regular  theatrical  amuse- 
ments in  Albany.  The  play-going  public  demonstrated, 
in  a  marked  degree,  their  desire  for  the  revival  of  this 
class  of  amusement,  and  numerous  projects  sprung  up. 
The  legislature  was  appealed  to,  to  throw  the  protecting 
arm  of  an  enabling  enactment  over  the  parties  who  pro- 
posed to  organize  a  company  to  replace  the  lost  dramatic 
temple;  but  this,  like  all  the  other  plans,  was  at  length 
abandoned.  At  last  Mr.  Lucien  Barnes  took  hold  of  the 
matter,  and  succeeded  in  forming  a  company  that  should 
remain  sufficiently  permanent  to  insure  the  success  of  a 
first-class  theatre.  Mr.  Barnes  matured  his  plans  during 
the  summer,  and  on  the  first  day  of  November  he  began 
work.  In  the  short  space  of  fifty-three  days  he  had  erected 
the  Trimble  Opera  House,  and  the  first  entertainment  was 
given  on  the  evening  of  December  31,  1869.  The  theatre 
was  opened  by  as  good  a  stock  company  as  could  be  se- 
cured at  that  season  of  tlie  year.  Mr.  Barnes  played  his 
stock  company  to  a  very  fair  business  till  some  time  in 
January,  when  the  star  system  was  introduced.     Mr.  E. 


Theatrical  Eeminiscences.  61 

Eddy  appeared  as  the  first  star,  playing  a  very  successful 
engagement,  the  nightly  receipts  being  larger  than  that 
of  any  star  that  had  preceded  him,  even  in  the  days  of 
the  Academy  of  Music.  The  po])ular  actor,  Edwin  Adams, 
succeeded  Mr.  Eddy,  doing  a  large  business.  The  great 
sensational  play  of  "  After  Dark "  was  then  brought  out 
in  magnificent  style,  and  played  by  the  stock  company 
many  consecutive  nights  to  very  remunerative  houses. 
Following  this  were  the  engagements  of  the  Watkyns,  the 
"Williams,  the  Florences,  Chanfrau,  Brougham,  and  other 
stars.  The  sensational  and  beautiful  play  of  "  Ixion  " 
was  then  placed  upon  the  stage  in  a  very  gorgeous  style, 
and  had  a  profitable  run  of  several  weeks.  The  "Black 
Crook  "  soon  followed  "  Ixion,"  and  so  magnificently  was 
it  gotten  up  and  admirably  played,  that  it  had  (for  Al- 
bany) the  unprecedented  run  of  thirty-five  nights,  and  up 
to  the  time  it  was  withdrawn  the  house  was  tilled  to  its 
utmost  capacity.  This  closed  one  of  the  most  successful 
theatrical  seasons  known  in  Albany — the  season  being 
quite  short,  (about  one  hundred  and  thirty-seven  nights,) 
and  the  grand  total  of  receipts  amounting  to  considerably 
over  $44,000. 

During  Mr.  Barnes'  management  of  the  Trimble  Opera 
House,  besides  producing  a  large  number  of  gorgeous 
spectacular  pieces,  the  most  prominent  being  the  "  Field 
of  the  Cloth  of  Gold,"  all  the  prominent  stars,  Forrest 
included,  appeared  in  rapid  succession,  besides  all  the 
grand  Italian  and  English  combination  opera  troupes 
extant. 

Mr.  Barnes  evinced  a  remarkable  activity  and  energy  in 
erecting  so  elegant  a  place  of  amusement  in  the  unprece- 
dently  short  period  of  fifty-three  days.  The  theatre  is 
conceded  to  be  the  equal  of  any  of  its  size  in  the  Union, 
and  Edwin  Forrest  declared,  on  his  last  appearance  here, 
"  that  the  Trimble  Opera  House  was,  in  all  its  appoint- 
ments and  surroundings,  one  of  the  finest  theatres  that  he 


62  Theatrical  Reminiscences. 

had  yet  appeared  in,  and  that  Albanians  had  just  cause 
to  be  proud  of  such  an  institution."  But  it  would  seem 
that,  with  all  his  energy  and  activity  as  a  practical  busi- 
ness man,  Mr.  Barnes  did  not  prove  a  success.  Either 
from  a  lack  of  experience  in  the  general  conduct  of  a 
theatre,  or  a  seemingly  marked  disinclination  to  avail 
himself  of  the  ripe  experience  of  successful  managers,  his 
inevitable  failure  was  early  predicted  by  those  familiar 
with  theatrical  matters. 

After  he  retired  from  the  management,  the  lease  was  put 
up  at  auction,  and  purcliased  by  Aaron  Eichardson,  who 
immediately  went  to  work,  and  at  a  very  liberal  outlay 
effected   many   important   and    desirable    improvements. 
Many  of  Mr.  Richardson's  friends  seemed  to  think  that  it 
was  a  useless  expenditure  of  money  to  undertake  to  im- 
prove the  interior  of  the  edifice— that  it  would  be  like 
attempting  to  *' gild  refined   gold;"  but  Mr.  Richardson 
saw  room  for  improvement,  and  at  once  acted  upon  the 
suggestion,  and  effected  in  a  short  space  of  time  almost 
an  entire  transformation  of  the  interior   of  the  edifice. 
Among  the  improvements  were  the  putting  in  of  ten  addi- 
tional boxes,  or  "  stalls,"  accommodating  six  persons  each, 
fitted   up  with   elegant   carpeting,   comfortable   chairs — 
making  quite  a  new  feature,  and  adding  greatly  to  the 
general  appearance  of  the  auditorium.     In  place  of  wooden 
settees  in  the  parquette,  nearly  an  entire  new  set  of  iron 
chairs  were  added,  giving  greater  cheerfulness  to  that  part 
of  the   house.      The   walls   Avere   elegantly  frescoed   and 
painted,  the  blending  of  the  maroon,  gold  and  drab  pro- 
ducing a  charming  effect  upon  the  whole.     Another  great 
desideratum  was  accomplished  in   the  way  of  improve- 
ments, by  placing  heavy  mattings  through  the  vestibules, 
lobbies,  passage-ways,  and  on    the  stairs  leading  to  the 
dress  circle,  thus  wholly  deadening  the  noise  heretofore 
produced  by  people  moving  about  the  house.     And  taking 
it  all  in  all,  it  can  be  said  without  fear  of  successful  con- 


Theatrical  Reminiscences.  63 

tradiction,  that  the  present  Opera  House  is  not  surpassed 
by  any  similar  establishment  in  this  country,  and  Alba- 
nians have  ample  cause  to  be  proud  of  the  institution. 
Mr.  Richardson  is  now  running  it  with  energy,  tact  and 
success. 


CHAPTER  XI. 

DIVISION  STREET  ACADEMY   OF   MUSIC. 

Conversion  of  the  Unitarian  Church  into  a  Theatre — List 
OP  Lawlor's  Opening  Company — E.  L.  Davenport — Toney 
Dernier — Success  of  "Walter  Keeble's  Management  op 
THE  Capitol  Theatre — His  Personation  of  Shaksperian 
Characters,  etc. 

Some  time  prior  to  any  definite  movement  having  been 
made  to  build  the  Trimble  Opera  House,  and  when  there 
seemed  little  prospect  of  our  city  again  being  favored  with 
a  regular  dramatic  temple,  Frank  Lawlor,  at  the  sugges- 
tion of  his  friends,  leased  the  old  Division  Street  Unita- 
rian Church,  which  Mr.  Oppenheim  had  just  commenced 
to  convert  into  a  place  of  amusement.  Mr.  Lawlor  took 
hold  of  the  work  with  energy,  and  at  a  considerable  out- 
lay converted  the  old  church  edifice  into  a  very  neat  and 
commodious  theatre.  It  was  opened  on  the  evening  of 
the  5th  of  October,  1869,  under  the  imposing  name  of  the 
Academy  of  Music,  and  with  an  efficient  stock  company, 
composed  of  Messrs.  George  0.  Bonniface,  George  Ryer 
Charles  Hilliard,  William  C.  Crosbie,  A.  L.  Cooke,  A.  J. 
Sawtelle,  C.  E.  Edwin,  J.  W.  Walsh  and  Frank  Lawlor; 
Miss  Augusta  L.  Dargon,  Mrs.  M.  A.  Farren,  Miss  Maggie 
Newton,  Miss  Alice  Brooks,  Miss  Caroline  Carman,  Miss 
Florence  Vincent,  Miss  Lana  Hall  and  Miss  Louisa 
Howard. 

Mr.  Lawlor's  enterprise  proved  an  eminent  success.     He 
was  indefatigable  in  catering  to  the  amusement  of  his 


Theatrical  Reminiscences.  65 

patrons,  and  exercised  au  excellent  taste  and  judgment  in 
selecting  the  most  approved  and  popular  dramas.  He 
placed  them  upon  the  stage  in  an  unexceptionable  man-^ 
ner^  and  they  were  satisfactorily  rendered  by  his  efficient 
dramatic  company.  At  various  periods  prominent  stars 
appeared  from  time  to  time.  E,  L.  Davenport,  the  accom- 
plished gentleman  and  finished  actor,  was  among  them, 
and  he  attracted  numerous  and  delighted  auditories.  Mr. 
Lawlor  continued  to  run  the  Academy  quite  a  length  of 
time  with  fair  success,  but  having  another  project  in  view, 
relinquished  its  management,  and  Toney  Dernier  assumed 
the  management  of  it.  Mr.  Dernier  expended  a  large 
amount  in  improving  the  interior,  rendering  it  a  neat, 
comfortable  place  of  amusement,  and  for  a  time  his  suc- 
cess was  quite  flattering,  but  not  sufficiently  so  to  induce 
him  to  continue  its  management. 

Mr.  Walter  Keeble,  who  was  acting  in  the  capacity  of 
stage  manager,  succeeded  Mr.  Dernier  as  lessee  and  man- 
ager, and  the  People's  Capitol  Theatre,  under  his  judicious 
and  energetic  management,  has  proved  a  success  far  sur- 
passing his  most  sanguine  expectations,  and  become  es- 
tablished as  among  the  permanent  institutions  of  Albany. 
During  Mr.  Keeble's  residence  in  Albany,  and  particu- 
larly during  his  managerial  career,  he  has  succeeded  in 
securing  a  large  share  of  public  confidence,  as  well  as 
enlisting  hosts  of  Avarm-hearted,  disinterested  friends,  who 
evince  a  determination  to  stand  by  him  under  all  circum- 
stances. Mr.  K.  has  lately  impersonated  Shaksperian  and 
other  prominent  roles  in  a  style  of  excellence  that  has 
stamped  him  second  to  few  dramatic  artists  on  the  Ameri- 
can boards. 
5 


CHAPTER  XII. 

THE   ODEON"  THEATRE. 

Anecdote  of  the  Elder  Booth — He  Fails  to  make  His  Appear- 
ance AS  Announced— Is  Found  in  the  "  Hole  in  the  Wall- 
Is  Taken  to  the  Howard  Street  Jail  and  Locked  Up  in  the 
Debtor's  Room  —  Hls  Stragetic  Operation  in  Obtaining 
Brandy — The  Shaker  Pipe — Jailor  Isaac  Winne  in  a  Quan- 
dary— Destruction  of  the  Odeon  by  the  Great  Fire  of  1848. 

In  the  year  1846  or  '47,  a  building  on  the  east  side  of 
South  Market  street  (now  Broadway,)  between  Hamilton 
street  and  the  steamboat  landing,  Avas  converted  into  a 
theatre,  and  opened  under  the  management  of  John  Cruta. 
It  was  fitted  up  in  neat  style,  though  it  was  of  rather  limi- 
ted dimensions,  and  opened  with  a  very  fair  dramatic  com- 
pany. Several  fine  scenic  pieces  were  brought  out  in  a 
manner  that  would  have  been  creditable  to  a  much  more 
pretentious  establishment,  and  several  leading  stars  ap- 
peared upon  its  boards — among  them  the  elder  Lucius 
Junius  Booth,  who  was  engaged  for  six  nights.  Tlie  an- 
nouncement of  this  engagement  and  of  Eichard  III  for 
the  opening  night,  as  a  matter  of  course,  filled  the  theatre 
to  its  utmost  capacity,  witli  an  audience  on  the  very  tip- 
toe of  expectation  and  interest  to  witness  the  great  imper- 
sonation of  Richard.  At  the  time  for  the  performance  to 
commence,  the  "call  boy"  tapped  upon  Mr.  Booth's  dress- 
ing room  door,  but  could  not  obtain  a  response  from  within. 
After  a  diligent  search  through  the  theatre,  and  no  traces 
of  Booth  being  discovered,   the  manager  announced  the 


Theatrical  Reminiscences.  67 

fact  to  the  audience  and  threw  himself  upon  their  kind 
indulgence,  stating,  that  as  Mr.  Booth  would  not  appear, 
he  should  be  obliged  to  substitute  another  play.  Many 
left  the  house,  their  money  being  returned. 

The  manager  knowing  Booth's  infirmities,  felt  sure  that 
he  was  on  one  of  his  terrible  sprees,  and  several  attaches 
of  the  tlieatre  were  dispatched  in  pursuit  of  the  missing 
actor.  After  a  long  and  diligent  search.  Booth  was  found 
in  a  groggery  called  "  Hole  in  the  Wall,"  in  Trotter's  Alley, 
laid  out  on  a  bench  stupidly  drunk.  In  order  to  guard 
against  the  repetition  of  the  event  and  to  make  sure  of 
his  appearance  on  the  following  evening,  Booth  was  taken 
in  a  carriage  to  the  old  Howard  street  jail,  now  the  City 
Hospital,  and  locked  up  in  what  was  called  the  "  debtor's 
room."  Booth  did  not  get  over  the  effects  of  his  orgies 
till  the  next  morning,  when  he  became  quite  sober,  but 
declared  himself  to  be  "infernal  dry,"  and  that  his  throat 
was  filled  with  cobwebs.  Brandy  was  the  panecea,  and 
brandy  he  must  have;  but  how  to  obtain  it  was  the  next 
question.  This  point,  however,  was  soon  disposed  of.  It 
seems  "Jim  Boardman,"  who  occasionally  did  chores 
around  the  jail  and  who  knew  Booth  well,  happened  to 
look  through  the  prison  door.  Discovering  the  prisoner 
to  be  Booth,  he  bid  him  good  morning.  The  salutation 
met  a  read}''  response  coupled  with  a  request  for  some 
brandy.  Jim  replied  'twas  against  the  rules  of  the  prison, 
and,  besides,  how  could  he  get  the  liquor  through  the  nar- 
row grating  even  if  he  brought  it?  Booth  handed  out  a 
quarter,  and  instructed  him  to  get  half  pint  of  brandy  in 
a  cup  and  a  long  Shaker  pipe,  and  bring  both  secreted  un- 
der his  coat.  Jim  did  as  directed,  handed  the  pipe  to 
Booth,  and  placed  the  cup  of  liquor  near  the  grating. 
Booth  then  inserted  the  bowl  of  the  pipe  in  the  cup,  the 
stem  in  his  mouth,  and  instantly  drained  the  cup  to  the 
very  last  drop!  AVlien  the  jailor,  Isaac  Winne,  generally 
known  as  "  Major  Winne,"  entered  the  prisoner's  room  a 


68  Theatrical  Eeminiscences. 

little  later,  judge  of  his  surprise  at  finding  his  prisoner 
certainly  as  tipsey,  if  not  more  so,  than  when  lie  left  him 
the  night  before.  How  he  became  in  this  plight,  or  how  he 
could  have  obtained  the  liquor  to  produce  it,  remained  a 
mystery  to  Winne  until  a  long  time  after  Booth  left  the 
city,  when  Jim  acknowledged  his  agency  in  the  matter. 
Whether  the  manager  succeeded  in  keeping  Booth  suffi- 
ciently sober  to  fulfil  the  engagement,  we  do  not  remem- 
ber, but  are  inclined  to  think  that  he  did  appear  one  or 
two  nights  after  this  unexpected  incident. 

The  "  Odeon  "  was  destroyed  in  the  memorable  and  dis- 
astrous fire  in  the  summer  of  184S,  when  nearly  all  the 
dwellings,  stores  and  hotels,  from  Hudson  to  Lydius  street, 
were  totally  consumed. 


CHAPTER  XIII. 

THE   GATETY   THEATKE. 

Castle,  the  Popular  Opera  Singer,  makes  his  First  Appearance 
IN  Albany  in  a  Professional  Capacitt  at  the  Gayety — 
Peter  and  Caroline  Kichings  appear  in  Opera  and  Comedy — 
Also  appear  J.  E.  Murdock,  Sothern,  Chanfrau,  Ada  Isaacs 
Menkin,  Henrietta  Irving,  J.  TTilkes  Booth,  who  was  Seri- 
ously "Wounded  by  a  Dagger  entering  his  Side. 

lu  the  year  1859,  when  Albany  could  not  boast  of  any 
place  of  regular  dramatic  entertainment,  and  theatricals 
were  at  a  rather  low  ebb,  A.  J.  Leavett  and  David  Allen, 
aided  by  the  contributions  of  a  few  friends  of  the  drama, 
inaugurated  a  place  for  dramatic  representations,  fitting 
up  the  large  building  in  Green  street,  a  few  doors  south  of 
Beaver,  for  many  years  occupied  by  Mr.  John  Van  Gaas- 
beck  as  a  carpet  store,  and  Mr.  Blair  as  an  upholstering 
establishment.  It  was  converted  into  a  theatre  under  the 
immediate  direction  of  Dr.  J.  Monroe,  a  theatrical  archi- 
tect, and  fitted  up  in  a  really  elegant  and  commodious 
style.  It  had  two  tiers  of  boxes,  several  private  boxes  and 
a  parquette.  It  opened  under  the  title  of  the  "  Gayety 
Theatre,"  with  a  small  dramatic  company,  under  very 
favorable  auspices.  The  liberal  patronage  of  the  public 
soon  enabled  the  management  to  increase  their  company, 
until  it  became  quite  formidable  in  numbers  as  well  as  in 
character  and  histrionic  talent.  Mr.  Spackman,  a  talented 
and  versatile  actor,  who  afterwards  became  stage  manager 
of  J.  M.  Trimble's  Academy  of  Music,  J.  W.  Albaugh, 


70  Theatrical  Eeminiscences. 

Charley  Kane,  David  Allen  and  Mrs.  Allen,  constituted 
a  portion  of  the  company.  Dramas  of  the  first  order,  and 
even  scenic  pieces  of  quite  an  imposing  character,  were 
produced  and  represented  in  a  style  of  excellence  that 
would  reflect  no  little  credit  to  establishments  of  larger 
dimensions  and  assuming  higher  claims  to  public  recog- 
nition. 

Many  of  the  eminent  stars  in  the  dramatic  firmament 
appeared  in  regular  and  rapid  succession  at  the  Gayety. 
Mr.  Castle,  the  celebrated  tenor  vocalist,  made  his  first  ap- 
pearance in  Albany  in  a  professional  capacity  at  this  thea- 
tre, in  conjunction  with  a  Miss  Miller,  a  beautiful  blonde 
and  a  fine  vocalist;  Peter  Eichings,  and  his  accomplished 
daugher  Caroline,  completed  two  extended  and  highly  re- 
munei'ative  engagements  here,  and  rendered  English  opera 
with  full  and  artistic  companies,  and  with  great  success. 

Eddy  played  the  first  star  engagement,  Chanfrau,  J.  E. 
Murdock,  Sothern,  Julia  Dean  Ilayne,  Ada  Isaacs  Menkin, 
Mrs.  Waller,  Miss  Kimberly,  Eoberts,  and  J.  Wilkes 
Booth,  playing  with  Miss  Henrietta  Irving. 

The  grand  spectacular  drama  of  "  The  Last  Days  of 
Pompeii,"  was  brought  out  at  this  little  theatre  on  a  scale 
of  magnificance,  considering  the  limited  capacity  of  tlie 
stage,  that  excited  the  astonishment  of  the  entire  play- 
going  public. 

It  was  at  the  Gayety  that  J.  Wilkes  Booth,  while  enact- 
ing the  role  of  Pascara,  in  the  Apostate,  met  with  quite  a 
serious  accident.  In  making  "the  fall"  at  the  close  of 
tlie  play,  his  dagger  accidentally  penetrated  the  right  arm 
pit,  inflicting  a  severe  wound  some  three  inches  in  depth, 
from  which  the  blood  flowed  profusely  upon  the  stage. 
Dr.  Crounse  happened  to  be  present  in  a  private  box,  was 
called  and  dressed  the  wound,  and  Booth  was  moved  to 
his  hotel.  The  wound  did  not  prove  sutticiently  serious 
to  prevent  his  appearance  the  second  night  after  and  he 


Theatrical  Eeminiscences.  71 

played  the  role  of  Richard  III,  doing  the  combat  scene 
with  his  left  arm,  with  all  his  usual  tact  and  force. 

[Had  the  dagger  then  but  entered  the  heai't  of  Booth, 
what  a  terrible  calamity  mis:ht  have  been  averted,  and  the 
martyred  Lincoln  might  still  have  been  living.  As  it  is, 
the  just  doom  of  J.  Wilkes  Booth  can  be  related  without 
a  sigh !] 

The  Gayety,  after  having  been  run  by  various  managers 
with  good,  and  again  with  indifferent  success,  for  quite  a 
length  of  time,  finally  succumbed  to  the  fate  of  many  of 
its  predecessors  in  Albany — went  by  the  board.  It  was 
closed  in  1861,  and  the  building  has  since  been  re-con- 
verted into  stores. 


CHAPTER  XIV. 

EDWIIf   FORREST,   THE   EMINENT  TRAGEDIAN. 

Sketch  of  His  Private  and  Professional  Life,  from  His  First 
Appearance  on  the  Mimic  Stage,  to  His  Final  Exit  from 
THE  Shifting  Scenes  of  Life  —  His  Early  Struggles  —  His 
Indomitable  Energy,  Perseverance  and  Courage,  etc.,  etc. 

The  death  of  this  justly  celebrated  and  unapproachable 
actor,  has  elicited  so  many  exhaustive  sketches  of  his  pri- 
vate and  professional  life,  that  but  a  narrow  margin  re- 
mains for  further  comment  or  enlargement  upon  it,  and 
renders  it  the  work  of  supererogation  to  more  than  allude 
to  a  few  prominent  features  of  his  private  and  professional 
character. 

Mr.  Forrest  was,  for  many  years,  acknowledged  by  emi- 
nent and  experienced  theatrical  critics,  as  well  as  the  play- 
going  public,  to  be  pre-eminently  the  finest  actor  that  this 
or  any  other  country  ever  produced.  In  a  wide  range  of 
characters  he  stood  without  a  rival;  nor  can  one  person 
of  note  be  called  to  mind  who  has  been  so  uniformly  and 
eminently  successful.  It  mattered  not  in  what  part  of  the 
country  he  appeared,  east,  west,  north  or  south,  he  seldom 
failed  to  be  greeted  by  intelligent,  fashionable,  and  over- 
flowing houses.  Now  and  then  he  was  more  fiercely  and 
often  unjustly  assailed  than  severely  criticised,  especially 
by  individual  pi-esses;  but,  after  all,  the  popular  verdict 
pronounced  him  "  the  noblest  Roman  of  them  all." 

Ed«iii  Forrest  -was  born  in   the  city  of  Philadelphia, 


Theatrical  Reminiscences.  73 

March  9,  1806,  and  consequently  was  in  the  sixty-seventh 
year  of  his  age  at  the  time  of  his  death,  December  14, 
1872.  His  father  was  a  Scotchman  and  his  mother  an 
American,  and  both  were  strong  adherents  to  the  Scotch 
Presbyterian  church.  Forrest's  father  Avas,  for  many  years, 
an  attache  of  the  old  United  States  Bank,  in  Philadelphia, 
and  died  in  its  service.  Edwin  was  designed  by  his  parents 
for  the  pulpit,  a  vocation  for  which  he  seemed  fitted  from 
the  earnest  attention  that,  when  a  mere  boy.  he  paid  to  the 
sermons  he  heard,  and  the  happy  manner  in  which  he  re- 
cited from  memory  the  long  passages.  But  the  death  of 
his  father,  leaving  a  large  family  in  embarrassing  circum- 
stances, and  the  consequent  necessity  of  immediate  exer- 
tion, interrupted  the  education  of  young  Forrest,  and  at 
ten  years  of  age  he  was  taken  from  school  and  compelled 
to  enter  as  clerk  in  a  large  German  importing  house,  but 
he  remained  but  a  short  time  in  their  employ,  as  he  spent 
more  of  his  time  in  '•'  spouting  theatricals,"  than  in  caring 
for  the  interests  of  his  employers. 

The  Forrest  family  consisted  of  six  children — Lyman, 
Henrietta,  William,  Edwin,  Edgar,  and  Caroline.  Edgar, 
the  youngest  son,  Avas  supposed  to  have  been  assassinated 
in  South  America  many  years  ago.  Lyman  was  a  tanner 
and  currier,  and  it  Avas  in  his  shop  that  EdAvin  gave,  for 
the  amusement  of  the  workmen,  his  first  dramatic 
recitation,  standing  on  the  stone  table  used  for  dressing 
leather.  EdAvin  is  next  found  on  the  boards  of  the  old 
South  Street  Theatre,  Philadelphia.  He  soon  joined  a 
Thespian  Society,  and  at  once  became  the  "star"  of  the 
company.  In  1817,  he  appeared  at  the  Apollo  Theatre  as 
Lady  Anna,  in  the  tragedy  of  Douglas,  his  costume  con- 
sisting of  a  thick  pair  of  shoes,  coarse  AA^oolen  stockings, 
and  a  short  Avhite  dress  that  reached  to  his  knees  only,  and 
a  red  scarf  Avound  around  his  head  so  as  to  form  a  turban. 
He  next  appeared  at  the  Tivoli  Gardens,  in  the  summer 
of  1820,  as  Young  Norval.     His  first  appearance  on  a  regu- 


74  Theatrical  Reminiscences.     • 

lar  stage  was  as  Young  Xorval  at  the  old  Walnut  Street 
Theatre,  then  under  the  management  of  those  eminent 
actors,  Wood  and  Warren,  (Warren  being  the  father  of 
AVilliani  Warren,  tlie  celebrated  comedian  who  was  at  one 
time  attaclied  to  the  Albany  Museum  dramatic  company.) 
In  "  Wood's  Eecollections  of  the  Stage,"  is  related  the  sub- 
joined account  of  Forrest's  appearance  on  the  Walnut 
Street  Theatre  boards : 

*'  A  very  interesting  event  in  theatricals  took  place  last 
evening  on  the  first  appearance  of  a  young  man,  Master 
Edwin  Forrest.  This  youth,  at  sixteen  years  of  age,  Avas 
introduced  to  the  management  by  Col.  John  Swift,  as  a 
person  who  was  determined  to  be  an  actor,  and  had  suc- 
ceeded in  obtaining  '  the  slow  leave '  of  his  family,  who 
were,  however,  naturally  enough  opposed  to  their  son 
adopting  that  profession.  AVe  have  been  so  unfortunate 
in  the  numerous  'first  appearances'  of  late,  that  the 
young  aspirant  could  hope  for  little  encouragement  of  his 
wishes — the  drooping  state  of  theatricals  furnishing  an- 
other and  stronger  reason  for  such  course.  The  usual 
arguments  were  strongly  urged  against  embracing  a  pro- 
fession, at  this  time  so  especially  unpromising.  The  toils, 
dangers,  and  sufferings  of  a  young  actor,  were  represented 
with  honest  earnestness,  but,  as  was  soon  discovered,  all  in 
vain.  Forrest  was  at  this  time  a  well  grown  young  man, 
with  a  noble  figure,  unusually  developed  for  his  age,  his 
features  handsome,  powerfully  ex]n"essive,  and  of  a  deter- 
mination of  purpose,  which  at  once  overruled  all  further 
objections  on  our  part,  and  we  finally  very  reluctantly 
yielded  to  his  desires.  He  accordingly  appeared  at  the 
Walnut  Street  Theatre,  November  27,  1820,  as  Young 
Norval,  in  the  tragedy  of  Douglas,  with  the  following  cast : 
Lord  Randolph,  Mr.  Wheatley  ;  Glcnalvin,  Mr.  Wood; 
Old  Norval,  Mr.  Warren  ;  Lady  Randolph,  Mrs.  AVilliams; 
Anna,  Mrs.  Jefferson — which  was  a  powerful  cast,  render- 
ing Master  Forrest  admirable  and  really  efficient  support, 


Theatrical  Reminiscences.  75 

which  gave  him  much  more  confidence,  than  had  the  cast 
of  the  play  been  made  up  of  less  acceptable  material.  So 
much  disappointment  had  been  experienced  by  the  public 
at  many  late  'first'  appearances,  already  alluded  to,  that 
no  great  excitement  was  perceptible  on  the  above  occasion. 
The  novice,  however,  acquitted  himself  so  well  as  to  create 
a  desire  for  a  repetition  of  the  play,  which  soon  followed, 
and  with  increased  approbation.  Soon  after  Master  For- 
rest added  to  his  reputation  by  a  very  spirited  effort  in 
Frederick,  in  '  Lover's  Vows.'  These  performances  were 
considered  by  all  the  principal  actors  as  far  beyond  any- 
thing they  had  ever  witnessed  from  a  novice.  Still  no 
great  enthusiasm  was  evident  in  the  public,  and  the  re- 
ceipts at  his  benefit  as  Octavion  in  the  '  Hunters  of  the 
Alps,'  Avere  even  less  than  the  former  nights.  They  had 
been — Douglas,  $319;  Frederick,  $255 ;  Octavion,  benefit, 
$215. 

"This  cool  reception  in  his  native  city,  that  might  have 
discouraged  a  less  ardent  and  confident  mind,  had  no  such 
effect  on  Forrest,  who  boldly  reiterated  his  intention  to 
adopt  a  theatrical  life.  The  theatre  at  this  time  presented 
no  vacancy  Avorthy  young  Forrest's  acceptance.  Two  cir- 
cumstances we  must  not  forget  to  mention,  largely  con- 
tributed to  the  failure  of  his  benefit — an  uncommonly 
heavv  snow  storm,  and  the  announcement  of  the  eminent 
actor,  Edmond  Kean,  for  the  following  week — two  greater 
drawbacks  could  not  easily  have  happened.  After  a  con- 
sultation with  Master  Forrest's  friends,  it  was  resolved 
that  he  should  abandon  the  young  Rocius'  plan  and  take 
a  range  through  the  western  theatres,  for  the  purpose  of 
passing  a  regular  apprenticeship  to  his  profession,  and 
young  Forrest  left  us  with  flattering  auguries  for  the 
future." 

Forrest  did  "go  Avest,"  (as  the  departed  philosopher, 
Horace  Greeley,  advised  so  many  young  men  to  do.)  making 
his  first  appearance  at  Cincinnati,  Ohio,  in  the  autumn  of 


76  Theatrical  Reminiscences. 

1822,  as  Malfort,  in  the  "Soldier's  Daughter,"  which  was 
followed  by  Richard  III,  and  other  Shaksperian  and  Ro- 
man roles.  An  editor  of  a  Cincinnati  paper  was  called  a 
lunatic  for  prophesying  Forrest's  future  greatness.  For- 
rest played  Othello  at  Louisville,  besides  many  other  char- 
acters, for  the  first  time,  and  with  little  knowledge  of  the 
text.  It  is  also  understood  that  at  times  his  taste  was  for 
comedy,  and  he  enacted  various  comedy  characters  with 
great  eclat.  Forrest,  it  would  seem,  did  not  appear  again 
in  his  native  city  of  Philadelphia  until  four  years  after  he 
made  his  first  debut  at  the  Walnut  Street  Theatre,  as 
Young  Nerval.  On  his  return  to  Philadelphia,  he  was 
announced,  says  Wood,  "from  the  Albany  theatre,  it  being 
his  first  appearance  in  four  years  in  Philadelphia,  and  to 
play  Jaffier  in  'Venice  Preserved,'  in  conjunction  with 
Mr.  C.  Foster,  as  Piere."  He  subsequently  appeared  as 
Rolla,  and  other  prominent  characters,  much  to  the  sur- 
prise of  the  public.  Col.  Forney,  one  of  his  early  friends, 
writes  of  Forrest:  "He  was  very  fond  of  children  and 
flowers,  and  had  stores  of  poetry  to  make  them  happy ; 
and  his  description  of  the  beautiful  painting  of  the  girls 
preparing  to  take  a  bath,  in  his  fine  collection,  was  itself 
a  picture."' 

Among  many  memoranda  in  my  possession  none  are 
more  useful  than  the  "Forrest  Souvenir"  of  Mr.  Wm.  D. 
Gemmill,  of  this  city,  which  he  has  kindly  allowed  me  to 
use.  It  is  a  collection  of  the  portraits  and  pliotographs 
of  Forrest  from  his  youth,  the  bills  of  the  phiys  in  wliich 
lie  has  acted  for  fifty  years,  criticisms  of  all  kinds,  anec- 
dotes, and  a  series  of  remarkable  reminiscences  of  the 
great  actor  by  the  veteran  Charles  Durang,  who  died  in 
Philadelphia,  February  15, 1870,  in  his  76th  year.  He  has 
annotated  many  pages,  in  his  own  handwriting,  with  inci- 
dents of  P'orrest.  Here  Ave  have  a  playbill  of  the  Walnut 
Street  Theatre  for  February  2,  1822,  announcing  the  cele- 
brated tragedy  of  "  Mahomet,  the  Impostor,"  with  Master 


o 


Theatrical  ReminiscexVCes.  77 

Forrest  as  Zapliana.  He  was  then  just  sixteen.  He  had 
first  appeared  at  the  same  theatre  in  his  fifteenth  year,  as 
Young  Norval,  to  a  house  worth  $319.  In  Mr.  Gemmill's 
collection  we  have  the  original  cast  of  "Metamora"  in 
New  York,  in  1830,  and  the  playbill  of  the  same  produc- 
tion at  Boston  in  the  same  year.  This  work  Avas  written 
for  Forrest  by  the  brilliant  J.  A.  Stone.  Forrest  was  then 
only  twenty-four.  In  1817,  Mr.  Durang  tolls  us  that  as  a 
mere  boy,  for  lack  of  female  performers,  young  Forrest 
played  girls'  characters  frequently.  He  was  then  eleven 
years  old.  When  at  Louisville,  in  18-23,  Forrest  and  James 
M.  Scott,  known  as  "  Long  Tom  Coffin,"  played  a  pair  of 
dandies  with  great  eclat ;  and  in  a  piece  called  the  "  Tailor 
in  Distress,"  Forrest  took  a  negro  part  "  Avith  so  much 
African  nature  that  he  seemed  the  very  incarnation  of  the 
race."  The  troupe  with  which  Forrest  was  connected  at 
this  time  had  many  a  severe  struggle,  one  of  their  houses 
only  netting  §7.  In  May  of  1826,  he  came  back  from  his 
wanderino-s,  and  flashed  forth  a  star  at  the  Chestnut  Street 
Theatre,  as  Jaffier,  in  "  Venice  Preserved,"  for  the  benefit 
of  Charles  S.  Porter,  another  honored  Philadelphia  name." 


CHAPTER  XV. 

EDWIX   FORREST. 

His  First  Appearance  on  the  Boards  of  the  Old  Pearl  Street 
Theatre — He  Supports  the  Great  English  Actors,  Conway 
AND  Kean — His  Great  Success  in  the  Kole  of  Mark  An- 
tony— His  Unprecedentedly  Rapid  March  to  the  Topmost 
Round  on  the  Ladder  to  Dramatic  Fame — Interesting 
Sketch  of  his  Inhaling  Laughing  Gas  when  a  Boy — His 
Sudden  and  Final  Exit  from  Life's  Busy  Stage! 

We  have  followed  Edvvia  Forrest,  in  his  earlier  dramatic 
career,  from  the  interesting  event  of  his  first  appearance, 
Avlien  sixteen  years  of  age,  on  the  boards  of  an  obscure 
thespian  establishment  in  Philadelphia,  to  his  departure 
from  his  native  city  as  a  poor,  friendless  young  man,  to 
the  then  new  and  sparsely  settled  Western  States,  to  un- 
dertake a  wider  range  of  characters,  and  to  serve  a  regular 
apprenticeship  in  the  theatrical  profession. 

The  many  vicissitudes  incident  to  his  life  Avhile  a  stroll- 
ing actor — how  he  was  obliged  to  lash  his  scanty  wardrobe 
upon  his  back  and  swim  a  river  for  lack  of  the  trifling  fee 
to  pay  tlie  ferriage ;  how  compelled  to  feed  upon  the  most 
common  fare  to  keep  body  and  soul  together;  and  of  the 
many  other  privations  which  the  young  Eoscius  endured, 
we  will  not  attempt  to  sketch,  as  a  full  account  of  them  is 
to  be  found  in  our  "General  Theatrical  Reminiscences." 

AMUSING   ANECDOTE   OF   FORREST. 

Before  closing,  however,  we  would  add  the  following 
incident,  giving  further  evidence  of  Forrest's  privations 


Theatrical  EexAiiniscexces.  79 

during  his  wanderings  in  the  west.  He  had  taken  lodg- 
ings at  a  low-priced  lodging  house,  in  a  room  containing 
two  beds;  the  second  bed  being  occupied  by  a  person  who 
was  an  entire  stranger  to  him.  At  ratlier  a  late  hour  in 
the  morning,  Forrest,  being  tired  of  longer  remaining  in 
bed,  cried  out  to  his  room-mate,  "  I  say,  stranger,  don't 
you  think  it's  time  to  get  up  —  it's  growing  late?" 
"  That's  just  what  I  Avas  thinking  about,  and  I  was 
anxiously  waiting  for  you  to  get  up,  as  I  have  very  strong 
reasons  for  not  getting  up  first,"  replied  the  stranger. 
" Why,  what  are  your  reasons?"  inquired  Forrest.  "To 
tell  you  the  sober  truth  then,  friend,"  was  the  reply,  "  I 
haven't  got  a  shirt  to  my  back,  and  was  a  little  ashamed 
to  expose  myself!"  " Well,  stranger,  I  must  confess  it's 
rather  a  queer  coincidence,"  was  Forrest's  rejoinder,  "I 
happen  to  be  in  a  similar  fix,  as  I  haven't  a  shirt  to  my 
back  either,  and  also  felt  ashamed  to  get  up  before  you ! " 
The  twain  enjoyed  a  hearty  laugh  over  their  mutual 
dilemma,  jumped  up  and  donned  their  scanty  wardrobes, 
shook  hands  and  parted  the  best  of  friends,  despite  having 
met  under  those  embarrassing  and  ludicrous  circum- 
stances. 

In  a  previous  chapter  slight  allusion  has  been  made  to 
Mr.  Forrest's  first  appearance  at  the  Pearl  Street  Theatre 
as  a  member  of  the  stock  company.  A  concise  review  of 
his  eventful  dramatic  career,  from  the  time  he  made  his 
dehut  as  a  stock  actor  in  Gilfert's  company,  to  his  final 
exit  from  life's  busy  stage,  will  not  seem  inappropriate 
here.  Mr.  Forrest  made  his  del)ut  at  the  old  Pearl  Street 
Theatre  in  the  autumn  of  1825,  as  Jaffier,  in  Venice  Pre- 
served, having  volunteered  liis  services  for  the  benefit  of 
a  member  of  the  stock  company.  Soon  after  he  joined 
ihe  company  as  a  regular  stock  actor,  playing,  on  Septem- 
iDer  30,  1825,  Macduff  to  Conway's  Macbeth.  He  also 
played  Michael,  to  Conway's  "  Tell,"  in  Sheridan  Knowles' 
drama  of  "  William  Tell"  that  had  just  been  introduced 


80  Theatrical  Reminiscences. 

in  this  country.  It  was  in  the  simple  character  of 
"  Michael,"  the  Swiss  peasant,  wlio  so  boldly  confronts  the 
minions  of  Gessler  and  indignantly  refuses  to  bow  to  the 
tyrant's  cap,  that  Forrest  unconsciously  startled  his 
audience  with  the  electric  spark  of  his  budding  genius. 

Forrest  seconded  CouAvay  through  his  entire  engage- 
ment, and  with  marked  ability.  We  wel^  remember  the 
night  he  enacted  Mark  Antony  to  Conway's  Brutus,  in 
the  tragedy  of  Julius  Cfesar.  The  house  was  filled  to  its 
utmost  limit  with  the  wealth  and  aristocracv  of  Albany — 
the  fashion  patronizing  theatricals,  particularly  the  legiti- 
mate drama,  well  in  those  days.  As  few  people  had  yet 
seen  Forrest  in  his  best  roles,  they  had  no  true  idea  of 
his  dramatic  power,  and  were  of  course  greatly  surprised, 
nay,  electrified,  with  his  speech  over  the  dead  body  of 
CtBsar ;  not  having  supposed  the  "vaulting  young  strip- 
ling" possessed  so  large  amount  of  true  dramatic  talent. 
It  was  very  apparent  Conway  was  greatly  chagi'ined,  if 
not  positively  jealous,  at  the  course  things  were  taking. 
After  Conway  concluded  his  engagement  at  the  South 
Pearl  Street  Theatre,  Forrest  assumed  Conway's  roUf^, 
rendering  them,  in  many  instances,  with  full  as  great  eclat 
as  had  Conway,  if  one  can  judge  from  the  warm  encomiums 
of  the  press  and  the  entire  approval  of  the  public. 

Forrest  continued  playing  various  tragic  and  melo- 
dramatic characters  in  an  acceptable  manner,  adding  fresh 
laurels  to  his  dramatic  wreath.  During  Edmund  Kean's 
engagement  at  this  theatre,  he  supported  that  distin- 
guished tragedian  through  all  his  dillicult  roles  so  excel- 
lently as  to  elicit  the  most  unequivocal  marks  of  appro- 
bation, and  Kean  warmly  predicted  the  great  dramatic 
future  of  the  aspiring  young  actor.  A  warm  friendship 
between  Kean  and  Forrest  existed  from  that  time  until 
Kean  was  called  to  his  great  final  reckoning! 

And  now,  as  to  Forrest's  first  successful  step  in  his  on- 
ward march   to  histrionic  fame  :  and  how,  and  when,  he 


Theatrical  Reminiscences.  81 

became  a  star.  On  the  night  of  the  representation  of 
Julius  Caesar  alluded  to,  Major  M.  M.  Noah,  editor  of  a 
leading  New  York  journal,  and  conceded  the  finest  theat- 
rical critic  of  the  day  in  America,  was  one  of  the  audience. 
Mr.  Noah  was  stopping  at  Congress  Ilall,  near  the  Capitol, 
kept  by  Robert  G.  Cruttenden,  {'  old  Crut.')  and  Gilfert  was 
also  boarding  at  Congress  Hall.  They  met,  and  Mr.  Noah 
describes  the  circumstances  as  follows: 

"  Went  to  the  theatre  to  see  Julius  Csesar.  Forrest,  a 
young  man  of  nineteen  or  twenty,  thick  set,  athletic,  stiff, 
and  with  coarse  but  powerful  voice,  played  Mark  Antony. 
Returning  to  Congress  Hall,  I  found  Gilfert  rapidly  eating 
his  lunch  of  corned  beef  and  horse-radish.  We  com- 
menced the  following  dialogue :  *  Gilfert,  who  is  that 
young  man  who  played  Mark  Antony  ? '  '  His  name  is 
Forrest.'  '  Where  from  ?  '  '  Philadelphia,  I  believe.* 
'  What's  his  character  ? '     '  Good.'     '  Is  he  sober — steady  ? ' 

*  Yes.'     *  Keeps  good  company  ?  '     *  Why,  I  believe  so.' 

*  Always  perfect  in  his  parts  ?  '  '  Always  perfect.'  '  How 
long    have    you  engaged  him  ? '      '  For  a  year  or  two.' 

*  What  salary  ? '     '  Very  small.' 

"  We  paused  while  Gilfert  got  through  his  supper,  and 
after  a  glass  of  brandy  and  water,  he  looked  at  us  across 
the  table,  over  his  specs,  in  his  peculiar  way,  and  said : 

" '  Tell  me,  Noah,  why  you  asked  me  those  questions 
about  that  young  man  ? ' 

'' '  Because,  said  I,  he  has  all  the  material  of  a  great  actor, 
and  if  his  habits  are  good,  we  would  advise  you  to  make  a 
long  engagement  with  him,  and  by  all  means  increase  his 
salary.' 

"  Gilfert  lighted  his  candle  and  went  to  bed.  He  sub- 
sequently told  us  that  he  had  extended  the  time  of  his 
engagement  with  him,  and  when  the  Bowery  Theatre  first 
opened  Ave  all  agreed  to  make  Forrest  a  star,  and  his  re- 
ception the  first  night  set  him  afloat  in  the  world  on  the 
voyage  which  has  now  brought  him  successfully  into  port." 
6 


82  Theatrical  Keminiscences. 

Gilfert  did  "  strike  a  bargain  "  with  Forrest,  and  all  who 
are  at  all  posted  in  theatricals,  or  know  anything  of 
Edwin  Forrest,  know  whether  the  predictions  of  Major 
Noah  Avere  true  or  false.  Forrest,  after  going  to  the 
Bowery,  at  once  "turned  over  a  new  leaf"  in  his  habits, 
applied  himself  closely  to  study,  but  continued  to  play 
nightly  at  that  theatre  to  crowded  and  enthusiastic 
audiences — in  fact,  carrying,  as  it  were,  the  whole  town 
"  by  storm." 

We  Avell  remember  the  circumstances  of  many  of  For- 
rest's old  Albany  friends  and  associates  paying  him  a 
friendly  visit,  to  tender  him  their  hearty  congratulations 
on  his  success.  He  informed  them  that  he  "owed  them 
much  for  what  they  had  done  in  his  behalf,  while 
struggling  along  up  the  dramatic  ladder;  that  he  was, 
and  ever  should  be  extremely  gratified  to  meet  them,  but 
that  he  had  now  '  turned  over  a  new  leaf,'  and  that  here- 
after Ills  line  of  conduct  must  be  directed  in  another 
channel — no  more  of  the  old-time  convivialities — no  more 
dissipation — no  more  frittering  away  of  precious  time.  I 
now  have  absolute  hard  work  to  do,  both  mentally  and 
physically."  His  friends,  and  they  might  be  numbered  as 
"legion,"  most  heartily  wishing  him  success,  listened  to 
the  declarations  regarding  his  future  course  with  delight, 
and  finally  bid  him  an  affectionate  adieu,  with  "  God  bless 
you,  Ned." 

In  182G,  fortune  began  to  favor  him,  and  in  July  of 
that  year  he  made  his  first  appearance  as  a  "  star,"  at  the 
Chestnut  Street  Theatre  in  Philadelphia,  in  the  character 
of  Othello.  From  that  onward  his  career  was  a  success. 
In  1S36  he  went  to  England,  and  in  October  of  that  year 
first  appeared  on  the  London  stage  at  Drury  Lane,  as 
SpartacuH.  During  this  visit  he  was  married  to  Miss 
Catharine  Sinclair,  who,  divorced  from  him  at  her  own 
request  many  years  ago,  has  since  resided  in  New  York 
and  on  Staten  Island.     On  the  return  of  Mr.  Forrest  from 


Theatrical  Remimscences.  83 

Eii^/an  ).  in  1837,  lie  entered  into  an  engagement  at  the 
Park  Theatre,  Avhere  he  received  an  enthusiastic  welcome — 
the  receipts  for  tlie  first  three  nights  of  his  performances 
o>mounting  to  $4,200.  In  1845,  after  continued  and  suc- 
cessful engagements  in  this  countiy,  he  visited  England 
Again,  and  appeared  at  the  Princess'  Theatre  in  London  as 
Macbeth.  Having  been  hissed  on  his  re-appearance,  he 
ascribed  that  indignity  to  the  intrigues  of  Mr.  Macready, 
a,ud  the  ill-feeling  thus  engendered  between  the  eminent 
<"ragedians  continued  Avithout  abatement  until  it  culmi- 
nated in  the  outrageous  attack  upon  Mr.  Macready  on  his 
appearance  in  New  York,  at  the  Astor  Place  Opera  House, 
'U  Ma}',  1849.  Forrest's  first  appearance  in  New  York 
ifter  his  divorce  took  place  at  the  Broadway  Theatre,  in 
February,  1852,  when  he  played  Damon — the  engagement 
(asting  for  sixty-one  nights.  He  afterward  made  a  pro- 
fessional tour  of  the  United  States,  playing  a  round  of 
Shaksperian  characters.  In  1855,  announcing  his  in- 
tention to  retire  into  private  life,  he  purchased  an  elegant 
mansion  on  Broad  street,  Philadelphia,  and  did  not  again 
appear  on  the  stage  till  the  season  of  1860-61,  when  tempt- 
ing offers  were  made  to  him  by  Mr.  James  M.  Nixon,  which 
were  accepted.  He  continued  to  appear  at  intervals  until 
1866,  when  he  made  his  first  appearance  in  San  Francisco 
in  the  character  of  Richelieu.  During  the  past  five  or 
six  years  he  has  taken  frequent  "  farewells  "  of  the  stage, 
only  to  be  re-enticed  by  profitable  opportunities,  and  at 
the  solicitation  of  his  friends. 

Mr.  Forrest's  last  appearance  in  public  was  as  a  reader, 
at  Steinway  Hall,  a  short  time  previous  to  his  death  ;  and 
even  at  those  readings  he  seemed  to  be  in  comparatively 
full  vigor,  and  to  retain  all  his  attractiveness  of  elocution 
and  action. 

It  is  a  somewhat  singular  coincidence  that  Mr.  Forrest 
commenced  his  real  dramatic  career  at  the  Albany  Pearl 
Street  Theatre,  and  made  his  last  appearance  in  a  regular 


84  Theatrical,  Keminiscences. 

theatre  on  the  precise  spot  (though  on  different  boards, 
the  Trimble  Opera  House,)  upon  which  he  had  appeared 
forty-seven  years  before. 

FOREEST   INHALING   LAUGHING   GAS. 

Frequent  allusions  have  been  made  to  the  circumstance 
of  Forrest  inhaling  exhilirating,  or  laughing  gas.  On  his 
return  from  England  after  his  unprecedentedly  successful 
engagement  in  London,  Forrest's  friends,  as  well  as  the 
friends  of  the  drama,  in  Philadelphia,  desirous  of  evincing 
their  admiration  of  his  talents  and  respect  for  his  charac- 
ter, invited  him  to  a  public  entertainment.  Over  200 
distinguished  citizens  being  present,  among  the  number 
Nicholas  Biddle — "  old  Xick,"  as  he  Avas  familiarly  called — 
of  the  old  IJ.  S.  Bank  memory — assisted  by  the  venerable 
Mayor  Swift,  and  the  large-hearted  Col.  James  Page — two 
gentlemen  whom  our  Burgess'  Corps,  and  Firemen,  will 
ever  have  occasion  to  remember  with  the  liveliest  emotions 
of  gratitude  and  pleasure.  Forrest  was,  of  course,  called 
upon  for  a  speech  ;  and  he  responded  in  a  truly  eloquent 
and  feeling  manner,  giving  an  account  of  his  reception 
and  success  in  London.  Among  other  matters,  he  gave 
the  following  particulars  of  his  inhaling  exhilirating  or 
laughing  gas,  when  a  poor  and  unfriended  boy : 

"  A  crowd  was  gathered  one  evening  in  the  Tivoli 
Garden  to  behold  the  curious  varieties  of  delirium  men 
exhibit  on  inhaling  nitrous  oxide  gas.  Several  years  had 
then  elapsed  since  the  great  chemist  of  England  had  made 
known  the  singular  properties  of  exhilirating  gas.  Strange 
antics  performed  under  its  influence  by  distinguished 
philosophers,  poets  and  statesmen  of  Europe,  were  then  on 
record,  but  it  was  yet  a  novelty  with  us,  and  so  the  public 
experiments  drew  throngs  to  witness  them.  Among  those 
to  whom  the  intoxicating  agent  was  administered  on  the 
occasion  referred  to,  there  chanced  to  be  a  little  unfriended 


Theatrical  Reminiscences.  85 

boy,  who,  in  tlie  instant  ecstacy  which  the  subtle  fluid  in- 
spired, threw  himself  into  a  tragic  attitude  and  commenced 
declaiming  the  following  passage  in  one  of  Shakspeare's 
plays:  'What,  hoi  young  Richmond,  ho!  'tis  Richard 
calls — I  hate  thee  Harry,  for  thy  blood  of  Lancaster!' 
But  the  effect  of  the  serial  draught  was  brief  as  it  was  sud- 
den and  irresistible.  The  boy,  awakening  as  from  a  dream, 
was  surprised  to  find  himself  the  centre  of  attraction — 
'  the  observed  of  all  observers.'  Abashed  at  his  novel  and 
awkward  position,  he  shrank  timidly  from  the  glances  of 
the  spectators,  and  would  have  stolen  in  haste  away,  but 
a  stranger  stepped  from  the  crowd  and  taking  him  kindly 
by  the  hand,  pronounced  words  which  thrilled  through 
him  with  a  spell-like  influence. 

"  '  This  lad,'  said  the  stranger,  '  has  the  germ  of  a  tragic 
greatness  in  him.  The  exhilirating  gas  has  given  him  no 
new  power.  It  has  only  revealed  one  which  lay  dormant 
in  him  before.  It  needs  only  to  be  cherished  and  culti- 
vated to  bring  forth  goodly  fruit.'  Gentlemen,  the  present 
Chief  Magistrate  of  your  city  was  that  benevolent  stranger, 
and  your  guest  was  that  unfriended  boy.  If  the  prophesy 
has,  in  any  degree,  been  fulfiled — if,  since  that  time,  I 
have  attained  some  eminence  in  my  profession,  let  my  full 
heart  acknowledge  that  the  inspiriting  prediction,  followed, 
as  it  was,  Avith  repeated  and  considerate  kindness,  exer- 
cised the  happiest  influence  on  the  result.  It  was  a  Avord 
in  season.  It  Avas  a  kindly  greeting,  calculated  to  arouse 
all  the  energies  of  my  nature,  and  direct  them  to  a  par- 
ticular aim.  Prophesy  oftentimes  shapes  the  eA'ont  Avliich 
it  seems  only  to  foretell.  One  shout  of  friendly  confidence 
at  the  beginning  of  the  race  may  nerve  the  runner  Avith 
strength  to  Avin  the  goal !  Happy  is  he,  Avho,  on  accom- 
plishing this  round,  is  received  with  generous  Avelcome  by 
the  same  friends  that  cheered  him  at  the  start.  Among 
such  friends  I  stand.  You  listened  Avith  inspiring  praise 
and  augurv  to  the  immature  efforts  of  the  boy.  and  yon 


86  Teteatrical  Reminiscences. 

now  honor  him  with  this  proud  token  of  your  approba- 
tion— the  achievements  of  the  man.  You  nurtured  me  in 
the  bud,  early  blossom  of  my  life,  and  labored  to  make  me 
full  of  growing.  If  you  have  succeeded  the  honor  is  your 
own." 


CHAPTER  XVI. 

EDWIN   FORKEST. 

His  Gknerous  Donation  to  the  Young  Men's  Association — His 
Letter  to  the  President  of  the  Association — The  Presi- 
dent's Reply— What  was  said  of  Mr.  Forrest  by  the 
Writer  at  the  time  the  Donation  was  made — Tribute  to 
Mr.  Forrest  by  his  early  friend.  James  Hunter.  Esq. — 
Forrest  attends  Hunter's  Funeral  as  Chief  Mourner,  etc. 

Many  years  ago  the  writer  prepared  the  following  brief 
sketch  of  Edwin  Forrest,  in  connection  with  the  Young 
Men's  Association  of  the  city  of  Albany.  It  Avas  Avritten 
about  seven  years  after  Mr.  Forrest's  appearance  as  a  stock 
actor  in  the  Gilfert  Dramatic  Company,  attached  to  the 
old  Pearl  Street  Theatre,  and  during  the  herculean  strug- 
gles through  which  his  indomitable  energy  and  persever- 
ance enabled  him  in  a  so  incredibly  brief  period  to  attain 
to  the  height  of  dramatic  fame  he  for  so  many  years 
proudly  and  incontestably  occupied.  In  the  earlier  period 
of  his  histrionic  career,  and  even  for  some  time  after  he 
had  become  famous  as  a  leading  actor,  Mr.  Forrest's  finan- 
cial position  scarcely  warranted  or  justified  him  in  making 
large  beneficence.  The  donation  he  so  generously  and 
spontaneously  made  to  tlie  Young  Men's  Association,  at 
a  time,  too,  when  that  association  was  in  its  infancy,  and 
struggling  for  an  honorable  position  among  the  literary 
institutions  of  our  country,  was,  therefore,  hardly  given 
from  an  overflowing  exchequer. 


88  Theatrical  Reminiscences. 

Innumerable  instances  could  be  adduced  to  prove  the 
noble  and  generous  impulses  of  Mr.  Forrest's  great  heart 
to  the  day  of  his  death.  His  last  and  crowning  act  of 
munificence  was  the  appropriation  of  a  large  amount  of 
money  for  the  establishment  of  the  "  Edwin  Forrest 
Home,"  for  members  of  the  dramatic  profession,  that  he 
so  dearly  loved  and  honored,  when  age  and  disease  shall 
have  rendered  them  incapable  of  longer  pursuing  it. 
Who,  even  among  those  who  have  been  classed  as  his  un- 
compromising enemies,  would  be  so  uncharitable  as  to 
assert  that  Edwin  Forrest  was  a  selfish,  mercenary  man. 
Mr.  Forrest  was  but  human,  and  his  many  generous  acts, 
his  upright  conduct  through  life,  his  fair  dealings  with 
his  fellow-men,  will  avail  his  plea  "  when  mercy  tempers 
justice." 

It  is  thirty  years  since  we  wrote:  "We  invariably  speak 
of  this  distinguished  individual  with  the  most  exalted 
emotions  of  pleasure.  His  brief  dramatic  history  of  only 
a  few  years  is  one  altogether  unprecedented  in  the  histri- 
onic annals  of  this  country — perhaps  the  world.  His 
short  and  brilliant  career  has  ali'eady  thrown  around  him 
the  gratitude  and  affection  of  every  American  heart.  In 
this  extremely  brief  period  of  time  he  arose  from  obscurity 
to  an  enviable  fame.  He  has  been  successful  beyond  all 
expectation  in  elevating  and  planting  on  a  firm  basis  the 
tragic  muse  of  our  country;  lie  has  taught  us  that  our 
wandering  to  foreign  climes  for  histrionic  sources  was  en- 
tirely unnecessary — that  at  home,  in  our  very  midst,  the 
SUBJECT,  the  AUTHOR,  and  the  actor  w'ere  at  hand;  for 
no  one  exercising  even  a  spark  of  dramatic  taste,  but  must 
acknowledge  his  Metamora  an  excellent  specimen  of  the 
American  Aborigines.  And  what  characters  so  interesting 
to  us  as  those  who  inherited  from  the  God  of  Nature,  the 
soil  upon  which  our  footsteps  are  now  im})lanted? 

"  But  it  is  not  of  Mr.  Forrest  as  a  tragedian  or  a  profes- 
sional man  that  we  alone  would  speak.     It  is  also  for  the 


Theatrical  Reminiscences.  89 

purpose  of  showing  his  heart,  in  all  its  varied  aspects,  to 
the  world.  His  generous,  liberal  hand  is  always  stretched 
forth  in  administering  its  noble  charities.  In  our  city, 
where  the  buds  of  his  towering  genius  were  first  devel- 
oped, cherished  and  rewarded;  here,  where  the  little  rivu- 
let that  has  now  grown  to  his  present  exalted  ability,  first 
gushed  from  the  fountain  of  his  hidden  faculties;  here, 
we  say,  we  have  abundant  evidence  of  his  nobleness  of 
soul. 

"  As  an  American  citizen,  he  is  an  honorable  example ; 
for  he  has  contributed  more  to  encourage  American  talent 
than  any  other  of  our  native  citizens,  with  their  millions 
at  command.  It  is  the  utmost  pride  of  his  heart  that 
literature,  the  essential  attribute  of  human  happiness, 
should  be  encouraged.  His  liberal  donation  to  the  Young 
Men's  Association  is  an  act  of  generosity,  which  every 
member — yes,  every  Albanian — should  bear  in  lasting  and 
perpetual  remembrance.  We  have  great  pleasure  in  being 
able  to  lay  before  our  readers  Mr.  Forrest's  admirable  letter 
enclosing  his  handsome  donation  to  the  Young  Men's 
Association,  a  copy  having  been  kindly  furnished  us  by 
the  Executive  Committee  of  the  Association : 

MR.  Forrest's  letter  to  the  young  mens'  association. 

"'Sir — The  laudable  and  successful  zeal  you  have  re- 
cently evinced  in  the  purpose  of  forming  an  association 
for  mutual  improvement  of  young  men  of  Albany,  with- 
out regard  to  individual  condition,  is  alike  creditable  to 
the  heads  that  projected,  as  to  the  hearts  that  resolved  it 
In  a  country  like  ours,  Avhere  all  men  are  '  free  and  equal,' 
no  aristocracy  should  be  tolerated,  save  only  the  aristocracy 
of  SUPERIOR  MIND,  before  which  none  need  be  ashamed  to 
bow.  Young  men  of  all  occupations  will  now  have  a 
place,  stored  with  useful  knowledge,  where,  at  their  leisure, 
they  nijiy  assemble  for  mutual  instruction,  and  the  free 
interchange  of  sentiment.     A  taste  for  American  letters 


90  THJLi.TRicAL  Reminiscences. 

should  be  carefully  and  sedulously  disseminated  among 
them,  and  the  false  and  parasitical  opinion  cannot  too 
soon  explode,  which  teaches  '  nothing  can  be  so  good  as 
that  which  emanates  from  abroad.'  Our  literature  should 
be  independent;  and  with  a  hearty  wish  that  the  iron  fet- 
ters of  prejudice  which  surround  it  may  soon  be  broken, 
I  herein  enclose  the  sum  of  one  hundred  dollars,  to  be 
appropriated  solely  to  the  purchase  of  books  pukely 
AMERICAN,  and  to  be  placed  in  the  library  for  the  use  of 
the  young  men  of  Albany. 

"'Yours,  with  much  respect, 

"*EDWIX  FORREST. 
"'Henry  Hart,  Esq.,  Albany,  8th  January,  1834.'" 

REPLY   TO    MR.   FORREST'S   LETTER. 

"  '  Executive  Committee  Eooms,  r 
"  'Albany,  Jan.  9,  ld34.      5 

" '  Edwin  Forrest,  Esq.  : — 

"'i)e«/'  Sir — Your  communication  of  the  8th  inst.  has 
been  placed  before  the  Executive  Committee  of  the  Young 
Men's  Association,  and  they,  on  behalf  of  the  Association, 
have  instructed  me  to  tender  you  their  sincere  thanks  for 
your  liberal  and  generous  donation ;  tlie  committee  take 
a  pride  and  a  pleasure  in  responding  to  sentiments  from 
whicli  they  cannot  withhold  their  unqualilied  concurrence. 
In  the  unrestricted  admission  of  all  classes  and  orders  to 
the  high  privileges  of  the  Association,  they  did  anticipate, 
as  a  resulting  consequence,  the  formation  of  the  aristo- 
cracy of  wliich  you  speak,  'before  which  none  need  be 
ashamed  to  bow.'  Wliile,  therefore,  enacting  those  gen- 
eral principles,  they  exclude  nothing  good.  Whether  it 
emanates  from  home  or  abroad,  they  will  cheerfully  em- 
ploy the  means  you  have  so  generously  afforded  in  pos- 
sessing themselves  of  the  works  of  those  authors  who 
have  mainly  contributed  to  extend  the  American  name 
and  influence  through  the  entire  empire  of  reason. 


Theatrical  Eeminiscences.  91 

"'The  committee  propose,  sir,  to  expend  your  donation 
in  the  purchase  of  books  containing  our  political  history 
which,  unlike  that  of  most  other  nations,  is  made  up  of 
the  opinions  and  acts  of  a  people,  and  not  of  a  court. 
Our  national  existence  was  the  commencement  of  a  new 
era  in  the  political  liistory  of  our  world.  In  the  com- 
mencement and  continuance  of  that  existence  three  things 
are  to  be  regarded — the  reason,  the  act,  and  the  conse- 
quence. The  first  is  found  in  the  recorded  wisdom  of 
Washington,  Jefferson,  Adams,  Madison,  Hamilton,  Jay, 
Franklin,  and  a  host  of  other  worthies  Avho  shed  the  bril- 
liant light  of  the  most  gifted  order  of  intellect  around  the 
incipient  struggles  of  an  infant  nation.  The  second  in 
the  firm  resolves  of  our  first  councils,  and  the  eloquent 
voice  of  our  early  battle-fields !  The  third,  in  the  many 
interesting  events  of  our  present  prosperity. 

" '  In  the  first,  we  meet  with  the  most  splendid  triumph, 
not  of  American,  but  of  human  reason.  In  the  second, 
with  the  first  instance  on  the  records  of  our  race  in  which 
the  propensities  of  our  nature  have  accomplished  their 
ends  in  complete  subserviency  to  the  high  sentiments  and 
intellectual  powers.  In  the  third,  we  recognize  the  high 
harmony  of  things,  as  evidenced  in  the  interesting  general 
fact,  that  the  consequences  have  been,  and  are  now  actu- 
ally being,  precisely  such  as  are  a  priori  reason  would 
have  deduced  from  such  acts,  grounded  upon  such  reasons. 
These  constitute  an  entire  whole,  and  the  books  from 
which  that  whole  is  derivable  must  necessarily  be  '  hooks 
purely  American.^  We  shall  preserve  and  regard  them 
as  the  monuments  of  your  munificience.  Accept  for  your- 
self our  best  assurances,  and  believe  us,  with  sentiments 
of  esteem,  respectfully  yours,  the  Executive  Committee  on 
behalf  of  the  Association,  by 

"'AMOS  DEAN,  President:" 


92  Theatrical  Eemixiscences. 

a  tribute  to  forrest  from  james  hunter,  esq. 

At  Mr.  Forrest's  farewell  benefit  at  the  old  Pearl  Street 
Theatre,  previous  to  his  first  visit  to  Europe,  the  late 
Jaraes  Hunter,  Esq.,  editor  of  the  old  Daily  Advertiser, 
and  afterward  of  the  Albany  Daily  News,  an  experienced 
theatrical  critic,  and  an  early  friend  of  Mr.  Forrest,  paid 
him  the  following  tribute.  Mr.  Hunter  had  been  the 
tutor,  counselor,  and  one  who  probably  exercised  greater 
influence  over  the  young  tragedian's  early  dramatic  course, 
and  incipient  steps  and  dramatic  progress,  than  any  other 
man  in  this  country.  Mr.  Hunter  was  an  excellent 
Shaksperian  scholar,  and  strongly  advised  Mr.  Forrest  to 
perfect  himself  in  Shaksperian  plays.  Forrest  did  not 
forget  the  manv  kindnesses  of  Mr.  Hunter,  and  on  receiv- 
ing,  while  playing  an  engagement  in  a  far  distant  part  of 
the  country,  the  sad  tidings  of  his  death,  hastened  with 
all  possible  speed  to  be  present  and  pay  the  last  tribute  of 
respect  to  his  old  friend  and  benefactor,  following  his  re- 
mains to  their  last  resting  place.  The  writer  well  remem- 
bers the  circumstance  of  Forrest  walking  alone,  Avith 
downcast  mein,  following  immediately  in  rear  of  the 
hearse,  as  chief  mourner. 

Mr.  Hunter  wrote:  "This  young  man,  who  has  given 
such  lustre  to  the  histrionic  character  of  America,  and 
who  has  shown  that  this  side  of  the  Atlantic  can  produce 
talent  at  least  equal  to  the  trans-atlantic  shores,  takes  his 
farewell  benefit  to-night.  He  ])lays  in  a  piece  written  by 
an  American — John  Augustus  Stone. 

"Albany  was  the  tirst  phice  which  discovered  and  en- 
couraged Mr.  Forrest's  genius.  Now,  acknowledging 
their  kindness  by  paying  lionor  to  them  as  citizens,  and 
feeling  gratitude  towards  them  as  his  early  and  continued 
patrons,  he  makes  his  farewell  thanks  and  his  last  bow 
previous  to  his  sojourn  in  foreign  lands.     That  the  Alba- 


Theatrical  Reminiscejjces.  93 

nians  will  in  a  mass,  and  with  the  utmost  warmth,  greet 
him  to-night,  there  is  no  doubt. 

"  Edwin  Forrest,  independent  of  his  universally  admitted 
abilities  as  an  actor,  is  a  man  of  the  most  amiable  and 
virtuous  character.  He  is,  to  speak  all  of  him  briefly,  A 
GOOD  MAN".  We  know  him  well ;  we  esteem  him ;  we  ad- 
mire him ;  we  love  him ;  and  we  never  knew  of  an  ac- 
quaintance of  his  who  did  not. 

"Pleasant  breezes  while  going,  and  fast  winds  while 
returning,  be  your  guerdon,  and  god  be  your  guardian, 

OUR  FRIEND ! " 


CHAPTER  XVII. 

WHY  MR.  FORREST  REMAIXED  SO  LONG  OX  THE  STAGE. 

Having  beea  for  many  years  intimately  acquainted  with 
Mr.  Forrest,  opportunities  Avere  afforded  us  of  becoming 
familiar  with  many  features  of  his  private  life.  To  us  he 
evinced  but  little  reserve  in  speaking  of  his  private  rela- 
tions. Our  last  interview  was  had  at  the  Metropolitan 
Hotel  in  New  York.  Among  the  various  topics  dwelt 
upon  was  the  cause  of  his  remaining  so  long  on  the  stage, 
and  which  had  been  for  many  years  a  mooted  subject.  "We 
said,  in  the  course  of  our  conversation,  '*  Mr.  Forrest,  don't 
YOU  think  you  ought  to  have  retired  from  the  sta":e  when 
your  'brow  was  bound  with  fresh  and  victorious  wreaths,' 
and  before  the  'sere  and  yellow  leaf  began  to  tell  upon 
you  ?  "  His  prompt  reply  was,  "  Yes,  I  confess  such  would 
have  been  my  true  course,  and  I  had  fully  determined  to 
do  so,  in  fact,  did  retire  for  a  few  years  with  a  firm  resolve 
never  again  to  'buckle  on  the  armor  theatrical;'  but  I 
found  it  impossible  to  leave  the  exc'itmg,  fai<d?iafinf/  scenes 
in  which,  for  nearly  fifty  years,  I  had  been  in  the  continu- 
ous habit  of  participating.  Money,  you  must  be  aware, 
was  not  my  object,  having  all  that  any  reasonable  man  re- 
quired. It  was  excitement  I  needed  to  fill  the  vacuum  in 
my  life,  occasioned  by  domestic  troubles  and  other  'ills 
tliat  flesh  is  heir  to,'  that  were  a  constant  source  of  annoy- 
ance to  me;  so  you  will  at  once  see  whv  1  have  remained 


Theatrical  Kemixiscexces.  95 

so  long  on  the  stage  when  I  should  have  been  enjoying  the 
fruits  of  so  many  long  years  of  excitement  and  toil,  in  the 
peaceful  walks  of  private  life.'' 

Thus  ends  our  imperfect  sketch  or  review  of  the  private 
and  public  life  of  the  great  departed  actor,  Edwin  Forrest, 
"  whose  like  we  shall  ne'er  look  upon  again."  If,  as  many 
may  think,  our  picture  is  overdrawn  or  too  highly  col- 
ored, be  it  attributable  to  a  warmth  of  friendship  which 
has  existed  between  us  for  so  many  years,  as  well  as  tbe 
high  respect  we  have  ever  entertained  for  him  as  a  man 
and  as  an  actor.  And  now  comes  the  last  sad  scene  in  his 
long  and  remarkable  career.  Edwin  Forrest,  who  has  so 
often  played  the  mimic  scene  of  death  with  such  truthful- 
ness, to  admiring  throngs,  has  at  last  met  the  grim  tyrant 
face  to  face,  and  to  the  inexorable  mandate  he  was  com- 
pelled to  succumb!  "Afterlife's  fitful  fever,"  the  great 
actor's  immortal  spirit  has  winged  its  Avay  to  that  "un- 
discovered country  from  whose  bourne  no  traveler  re- 
turns."    Like  the  great  Xapoleon, 

"  He's  fought  his  last  battle, 
Played  his  last  role, 
No  loud  plaudits  awake  him, 
To  gloiy  aud  fame  !  " 

The  noble  form  of  Edwin  Forrest  sleeps  with  his  ances- 
tors; his  memory  will  long  be  cherished  by  thousands  of 
the  admirers  of  his  towering  genius.  Forrest's  dramatic 
mantle  finds  now  no  shoulders  able  to  clai:sj[,  and,  above 
all,  to  WEAR  it. 

What  language  so  appropriate  as  the  beautiful  passage 
from  Shakspeare's  Hamlet,  which  the  great  actor  was 
wont  so  often  to  repeat  to  admiring  spectators : 

See,  what  a  grace  was  seated  on  this  broTv ; 
H^'periou's  curls  ;  the  front  of  Jove  himself; 
An  eye  like  Mars,  to  threaten  and  command  ; 
A  station  like  the  herald  Mercury. 


96  Theatrical  Reminiscences. 

New-lighted  on  a  heaven-kissing  hill; 
A  combination  and  a  form  indeed, 
Where  every  god  did  seem  to  set  his  seal, 
To  give  tiie  world  assurance  of  a  man. 

Finale.  —  "Ring  down  the  curtain",  the  great 

DRAMA  OF  LIFE  IS  o'eR  ;  THE  BRIGHTEST  STAR  IN  ALL 
ITS  glorious  CONSTELLATION,  IS  FOREVER  BLOTTED  FROM 
THE  DRAMATIC  FIRMAMENT  !  " 


Mrs.  CATHARINE  SINCLAIR, 

Divorced  Wife  of  Edwin  Forrest,  in  the  character  of  "Lady  Teazle." 


I 


A 


CHAPTER  XVIIL 

MRS.    CATHARINE    SINCLAIR,    THE    DIVORCED    WIFE    OF 

EDWIN    FORREST. 

Her  First  Appearance  on  the  Stage  After  the  Divorce — Her 
Personal  Appearance — Her  Many  Accomplishments — Inter- 
esting Incident  ON  Her  Debut  at  the  Albany  Museum  as 
Lady  Teazle,  in  the  "  School  for  Scandal  " — Her  trium- 
phant reception  after  powerful  efforts  were  made  to  pre- 
vent HER  appearing,  ETC.,  ETC. 

The  troubles  between  Mr.  Forrest  and  his  wife  have 
been  already  made  sufficiently  notorious.  Suffice  it  to  say 
then  that  Mrs.  Sinclair  Avas  the  successful  party  in  the 
suit,  and  the  decision  of  the  court  was  that  she  receive  a 
large  alimony  from  tlie  estate  of  Mr.  Forrest,  and  that  a 
decree  of  divorce  be  entered.  Of  the  merits  of  the  case 
we  have  nothing  to  say;  public  sympathy,  as  a  matter  of 
course,  Avas  with  the  lady.  But  Ave  must  be  permitted  to 
express  our  belief  that  the  full  report  of  the  case  was  of  a 
most  questionable  propriety.  It  could  not  have  but  ex- 
erted a  baneful  influence  upon  society  in  general.  During 
the  progress  of  this  case  the  New  York  papers  Avere  crowded 
Avith  the  evidence  verhatim,  of  chambermaids  and  low- 
lived serving-men,  Avhoso  veracity  was  questioned  at  every 
assertion,  and  the  publication  of  whose  evidence  Avas  a 
disgrace  to  any  press.  At  the  close  of  the  case,  some  of 
the  NeAV  York  editors  declared  that  the  details  of  any 
similar  trial  should  never  appear  in  detail  in  their  journals. 
The  determination  reflects  credit  upon   their  judgment, 


98  Theatrical  Reminiscences. 

for  the  columns  of  a  high-toned  paper  should  never  be 
soiled  by  the  detailed  report  of  such  trials.     Soon  after 
the  close  of  this  long  case,  Mrs.  Sinclair  declared  that  the 
money  which  the  court  had  awarded  to  her  from  her  hus- 
band's estate,  should  every  cent  of  it  be  devoted  to  chari- 
table purposes,  and  resolved  to  resort  to  the  theatrical  pro- 
fession as  a  means  of  her  own  support.     Her  ilehut  in  New 
York  was  of  the  most  flattering  character,  having  the 
prestige  of  her  name  and  the  notoriety  of  the  late  trial,  to 
aid  her  in  drawing  good  houses.     She  opened  at  Brough- 
am's Theatre.  New  York,  in  the  "  School  for  Scandal,"  as 
Lady  Teazle,  following  up  her  first  appearance  by  running 
through  with  a  role  of  characters — sucli  as  Julia  in  the 
*•  Hunchback,"  Pauline  in  the  "  Lady  of  Lyons."     After 
playing  out  the  term  of  her  engagement  in  New  York  and 
reaping  a  very  handsome  pecuniary  harvest,  she  filled  an 
eno-ao-ement  in  Philadelpliia  and  again  returned  to  New 
York,  where  she  run  through  and  played  in  her  various 
roles  for  a  second  time,  meeting  with  less  success.     She 
then  appeared  at  Harry  Meech's  Museum  in   this  city,  as 
Ladv  Teazle,  in  the  "  School  for  Scandal."     At  that  time 
the  friends  of  Edwin  Forrest  in  Albany — they  were  very 
numerous — on  learning  that  his  divorced  wife  was  to  ap- 
pear, determined  to  prevent  it,  and  claimed  to  have  made 
arrangements  to  "  hiss  her  down."     Between  the  friends 
of  Mr.  and  Mrs.  Forrest,  there  was  no  little  excitement. 
Seeing  the  course  matters  were  taking,  and  desiring  the 
lady  should  have  at  least  a  hearing,  the  writer,  one  of  Ed- 
win Forrest's  earliest  friends,  being  at  the  time  connected 
with  a  daily  i)aper,  penned   the  following  article,  which 
appeared  on  the  date  she  was  to  appear : 


Theatrical  Reminiscences.  99 

mrs.  fokrest  at  the  museum. 

"This  lady,  the  divorced  wife  of  Edwin  Forrest,  Avill 
make  her  first  appearance  in  this  city  this  evening,  in  the 
role  of  Lady  Teazle,  in  '  School  for  Scandal.'  As  there 
appears  to  be  a  disposition  on  the  part  of  Mr.  Forrest's 
friends  to  prevent  her  appearing,  we  do  most  sincerely 
trnst  they  may  be  induced  to  entertain  a  '  second  sober 
thought,'  and  at  once  abandon  the  idea.  In  the  first  place, 
they  should  consider  that  there  are  two  sides  to  the  '  vexed 
question '  of  divorce, — secondly,  she  is  a  woman. — a  lone 
woman — a  stranger  in  a  strange  land,  and  without  pro- 
tection— reason  sufficient  in  all  conscience  to  enlist  the 
warmest  sympathies  of  our  nature.  Do  not,  then,  friends, 
condemn  before  the  verdict  is  rendered — grant  the  lady  a 
moiety  of  charity,  seasoned  with  a  goodly  share  of  the 
'milk  of  human  kindness.'" 

This  simple  appeal  had  a  most  happy  effect — the  oil 
thus  administered  in  a  homo?opathic  dose  at  once  calmed 
the  troubled  waters,  and  all  things  went  on  as  merry  as  a 
marriage  bell.  The  large  auditorium  of  the  Museum  was 
literally  crowded  by  the  most  respectable  class  of  our  citi- 
zens, and  the  lady  was  received  with  enthusiastic  applause, 
in  which  the  few  impotent  hisses  were  completely  drowned. 
After  the  curtain  had  been  rung  down,  at  the  "  finale," 
she  Avas  vociferously  called  before  the  foot-lights,  and  re- 
turned her  earnest  and  heartfelt  thanks  for  this  cordial 
reception  in  a  most  feeling  and  appropriate  little  speech. 
She  played  the  remainder  of  her  engagement  with  very 
fair  success. 

Mrs.  Forrest  was  at  the  time  stopping  at  the  old  City 
Hotel  in:  Broadway,  on  the  site  of  Messrs.  S.  H.  Ransom 
&  Co.'s  iron  building,  and  on  the  following  morning  after 
her  appearance  at  the  Museum,  we  were  the  recipient  of  a 
very  polite  note,  thanking  us  in  the  sincei'ity  of  lier  heart 
for  this  disinterested  intercession  in  her  behalf — with  a 


100  Theatrical  Reminiscences. 

])olite  invitation  to  call  upon  her.  Availing  ourself  of  the 
invitation,  we  called,  and  must  confess  we  never  met  a 
more  highly  accomplished  woman.  Mrs.  Forrest  has 
manv  admirable  qualities,  is  fine  figure,  quite  English  in 
style,  and  very  naturally,  as  she  was  born  in  London  ;  her 
complexion  a  rich  blonde,  with  a  face  at  once  handsome 
and  prepossessing,  and  features  sufficiently  marked  and 
prominent  for  effect.  lu  private  her  style  and  manner 
are  highly  attractive,  dignified  and  lady-like. 

Mrs.  Sinclair  is  the  daughter  of  Mr.  Sinclair,  the  emi- 
nent artist,  who  made  a  reputation  in  New  York  when  the 
Opera  of  Cinderilla  was  first  introduced  in  this  country, 
doing  the  role  oi  the  "Prince."  His  daughter  inherited 
her  father's  musical  taste  in  a  most  remarkable  degree — 
besides  she  spoke  several  languages  with  fluency. 

Mrs.  Sinclair,  attired  in  deep  mourning,  attended  Mr. 
Forrest's  funeral,  sitting  in  the  large  parlor  facing  Broad 
street,  her  head  resting  upon  her  hand,  her  fingers  work- 
ing nervously.  After  remaining  in  this  position  a  short 
time,  she  arose,  hesitatingly  approached  the  coffin,  and 
drawing  her  veil  aside,  placed  her  hand  upon  the  cold  fore- 
head of  the  dead,  passing  it  gently  down  to  the  hand 
which  she  held  firmly  for  several  minutes.  What  were 
Mrs.  Sinclair's  feelings  on  that  sorrowful  occasion,  may 
be  better  imagined  than  described.  If  the  fountains  of 
her  heart  had  gushed  forth,  as  they  no  doubt  were  inclined 
to  do,  those  "  tell  tales,"  the  pearly  tears,  would  have  be- 
dewed her  pale  cheeks.  As  she  was  about  to  leave  the 
coffin,  she  culled  a  few  choice  flowers  from  the  abundance 
tliat  were  strewn  around  and  upon  the  remains,  and  re- 
turning to  her  seat  remained  until  the  corpse  was  removed 
to  its  final  resting  place! 

"  The  niiglit  of  the  stronirth  tliat  dwells  apart, 
In  the  deep,  deep  cells  of  a  woman's  heart. 
Little  wo  know  it,  and  man  may  deem 


Theateical  Kemixiscences.  101 

It  is  but  the  tale  of  an  idle  droaui  ; 
But  there  are  springs  which  never  dry, 
But  flow  on  in  silence  exhaustlessly." 

Mrs.  Sinclair  is  at  present  residing  with  her  youngest 
married  sister  at  the  qniet  little  village  of  Stapleton,  Staten 
Island.  It  is  understood  that  Mrs.  Sinclair  has  commenced 
legal  proceedings  for  the  possession  of  her  thirds  of  the 
real  estate  of  her  late  husband,  and  we  trust  she  may  suc- 
ceed in  proving  her  claim  to  it  to  be  legal  and  just. 


CHAPTER  XIX. 

JUNIUS    BRUTUS    BOOTH. 

His  First  Appkarance,  as  a  N^ovice— His  Kapid  Advance  in 
THE  Profession— His  First  Visit  to  America— He  turns 
Farmer — Is  his  own  Marketman — How  he  Sold  his  Farmer 
Companions  in  Playing  Richard— His  Mad  Freaks  with 
Charles  H.  Eaton— His  Death  in  185"2,  on  his  Passage 
from  Xew  Orleans. 

This  Avorld-renowned,   incomparable  actor,  was  born 
May  1,  1796,  in  a  small  town  a  short  distance  from  Lon- 
don.    He  Avas  the  son  of  a  barrister,  who  intended  him 
also  for  the  legal  profession,  and  placed  him  at  Eaton. 
Mr.  Booth  was  a  perfect  lingnist,  speaking  flnently  French, 
German,  Spanish  and  Italian,  he  accomplishing  what  no 
English  actor  ever  did,  by  playing  Shakspeare  in  French, 
and  with  entire  satisfaction,  before  a  crowded  and  exacting 
French  audience.     He  entered  the  navy  as  a  midsliipman, 
but  left,  and  assumed  the  fine  arts — painting,  drawing  and 
sculpture ;  he  also  became  quite  conversant  in  Blackstone. 
His  first  appearance  was  in  a  Thespian  Society,  in  the 
comedy  of  ''John  Bull,"  and  soon  after  joined  a  strolling 
dramatic  company,  making  his  debut,  1813,  as  Campillo, 
in  the  '*  Hoiu'ymoon."     His  first  appearance  was  at  Oovent 
(iarden  Tlieatre,  the  same  year,  as  Silvia,  in  "As  You 
Like  It,"  and  in  1831  he  came  to  America,  appearing  as 
i{i(;hard  at  Itichmond,  Virginia;  afterwards  at  the  Park 
Theatre,  New  York,  and  Chestnut  Street  Theatre,  Phila- 
delphia, the  most  flattering  success  awarding  liis  efforts. 


Theatrical  Eemixiscences.  103 

He  purchased  a  farm  in  1822  at  Bel- Air,  Maryland,  near 
Baltimore,  being  his  own  marketman,  bringing  in  the 
products  of  his  farm,  sucli  as  hay,  butter,  fruits,  &c. 
Booth  would  play  an  engagement  at  a  Baltimore  theatre, 
coming  to  town  in  the  morning  witli  his  produce,  dressed  in 
his  tow  frock,  coarse  straw  hat,  and  cowhide  boots,  and 
after  disposing  of  his  commodities,  go  to  the  theatre,  ap- 
pear in  one  of  his  great  characters,  and  return  to  his  home 
in  the  evening,  after  tlie  performance,  and  go  through  the 
same  routine  during  his  engagement.  The  following  an- 
ecdote is  related  of  this  extraordinary  man  :  One  evening 
when  he  Avas  to  appear  in  Kichard,  after  he  had  marketed 
off  his  produce,  he  went  to  the  hotel,  the  resort  of  the 
farmers  generally,  but  with  whom  Booth  had  formed  little 
if  any  acquaintance,  he  residing  in  a  different  part  of  the 
country  from  them.  An  hour  or  two  before  the  perform- 
ance commenced,  a  suggestion  was  made  by  one  of  the 
farmers  that  they  all  go  and  see  Booth  play  Eichard,  as 
they  had  never  seen  him.  Booth  was  asked  if  he  had  ever 
seen  Booth  play.  He  replied  that  he  "  had  seen  him  many 
times,  but  that  he  guessed  he'd  drop  in  and  see  him  once 
more  in  his  favorite  character  of  Kichard."  So,  on  the 
arrival  of  the  time  for  the  performance  to  commence,  the 
entire  party,  including  Booth,  started  for  the  theatre,  and 
while  the  tickets  were  being  procured  Booth  slipped 
around  to  the  private  entrance  to  the  theatre,  entered  his 
room  and  hastily  dressed  for  Richard,  and  being  the  first 
character  to  enter  after  the  curtain  rang  up,  commenced 
the  celebrated  soliloquy  in  Richard,  "  Noav  is  the  winter 
of  our  discontent,"  &c.  Booth  appeared  to  be  in  his  best 
mood,  intending,  no  doubt,  to  "astonish  the  natives" — • 
his  brother  farmers — throwing  additional  spirit  into  the 
character,  and  which  very  evidently  did  have  the  desired 
effect,  by  setting  them  completely  agog,  especially  his  ter- 
rific combat  and  dving  scene. 

The  theatre  being  out,  the  party,  excepting  Booth,  re- 


1(34  Theatrical  Reminiscences. 

turned  to  their  hotel,  soon  after  which  the  great  actor, 
attired  in  his  home-spun  toggery,  stepped  up  to  the  bar, 
took  his  mug  of  mulled  cider,  paid  his  bill,  and,  while  his 
team  was  being  hitched  up,  was  asked  by  one  of  the  party, 
"How  did  you  like  Booth,  friend?"  "0,  pretty  well; 
but /think  /have  played  it  better"— jumped  into  his 
wagon  and  drove  off.  The  farmer  responded  with  a  loud 
voice:  "  Ton  pUiy  it  better?  well,  come  now,  ain't  that  a 
good  joke  ?  "—and  they  all  ha-haed  out  at  the  top  of  their 
voices.  The  surprise  of  the  unsophisticated  party  can  be 
better  imagined  than  described,  when  informed  by  the 
landlord  that  the  individual  Avith  whom  they  had  been 
talking  Avas  none  other  than  the  celebrated  actor.  Booth ! 

Booth  resided  on  his  farm  in  quiet,  surrounded  by  all 
the  comforts  of  domestic  life,  scrupulously  avoiding  all 
show  or  notoriety,  and  living  in  the  most  frugal  and  sim- 
ple manner.  In  1825  he  visited  England,  appearing  at 
Drury  Lane  as  Brutus.  In  1835  he  again  visited  England, 
and  his  last  appearance  on  any  stage  was  at  the  St.  Charles 
Tiicatre,  New  Orleans,  appearing  as  Sir  Edward  ^lortimer 
and  John  Lump,  in  the  "  Wags  of  Windsor."  During  his 
sojourn  in  New  Orleans  he  contracted  a  severe  cold,  and, 
taking  passage  on  a  steamer  for  Cincinnati,  died  Novem- 
ber 19,  1852,  of  consumption  of  the  bowels. 

It  is  extremely  doubtful  whether,  that  as  an  actor,  his 
equal  has  ever  been  seen.  His  talent  was  truly  won- 
derful, often  playing  such  arduous  I'oles  as  liichard, 
Brutus,  and  Giles  Overreach.  He  would  appear  in  a 
farce,  doing  Jerry  Sneak,  John  Lump,  and  other  low  com- 
edy parts,  with  little  apparent  exhaustion,  and  in  the  most 
acceptable  manner.  His  voice  was  singularly  flexible  and 
.'melodious,  full,  clear,  and  susceptible  of  exquisite  pathos; 
liis  countenance  was  exceedingly  handsome  and  expressive 
before  his  nose  was  broken  by  Tom  Flynn,  with  a  pair  of 
tongs,  in  defending  himself  against  one  of  Booth's  ''mad 
freaks;"  his  eye,  the  mirror  of  the  soul,  was  a  dark  blue, 


Theatrical  Reminiscences.  105 

beaming  with  intelligence  and  fire.  In  depicting  the  pas- 
sions of  hate,  terror,  revenge,  scorn,  despair,  he  Avas  par- 
ticularly successful,  and,  at  times,  truly  terrific — but  in 
the  milder  passions  he  was  not  so  successful. 

That  Junius  Brutus  Booth  was  one  of  the  greatest  actors 
who  ever  lived,  there  can  be  little  question.  He  was  gen- 
erally and  naturally  exceedingly  mild  and  gentle.  In  his 
family,  it  is  said  he  prohibited  the  use  of  animal  food;  an 
animal  life  was  ever  sacred  on  his  farm,  and  the  very  trees, 
too,  Avere  held  sacred,  as  they  were  never  allowed  to  be 
felled  by  the  axe.  All  forms  of  religion  and  temples  of 
worship,  were  to  him  sacred ;  and  passing  places  of  divine 
worship  it  is  said  he  never  failed  to  reverently  bow  his 
head. 

That  Edwin  Booth,  the  son  of  the  elder  Booth,  is  a  very 
chaste  and  impressive  actor,  few  will  gainsay;  but  that  he 
is  to  be  compared  with  his  father  in  force  and  positive 
electric  effect,  none  who  have  witnessed  the  elder  Booth's 
impersonations  will  attempt  to  assert.  John  Wilkes,  prob- 
ably, approached  more  nearly  his  father  in  the  portrayal 
of  the  stormy  passions,  than  does  either  Edwin  or  his 
brother  J.  Brutus  Booth. 

In  other  parts  of  this  work  the  reader  will  find  several 
very  amusing  anecdotes  connected  with  Booth's  dramatic 
career. 

ONE   OF   booth's    MELANCHOLY   PAROXYSMS, 

As  almost  anything  relating  to  this  great  actor  is  always 
interesting  to  old  play -goers  who  have  witnessed  his  un- 
surpassed delineations  of  character  in  his  palmy  days,  we 
give  the  following  letter,  written  by  Charles  H.  Eaton,  or 
as  he  was  usually  called,  "  Cliarley  Eaton,"  to  a  friend  in 
Boston,  Avhile  he  (Eaton)  was  playing  an  engagement  at 
the  Pearl  Street  Theatre  in  Albany,  in  1838,  doing  second 
to  Edwin  Forrest.     Charley  was  really  a  splendid  young 


106  Theatrical  Beminiscences. 

actor,  ail  Adonis  in  his  personal  appearance,  whom  Forrest 
declared  "was  bound  to  make  a  distinguished  mark  in  his 
profession."  In  his  account  of  this  very  thrilling  affair, 
Mr.  Eaton  goes  on  to  say : 

"  Since  we  parted  I  have  been  "  strutting  my  brief  hour  " 
upon  the  boards  of  the  Olympic,  Bowery  and  Franklin, 
New  York,  and  upon  the  Pearl  street  boards,  Albany.  I 
have  just  heard  of  Booth's  attack  upon  poor  Tom  Flynn, 
at  Charleston,  and  absolutely  shudder,  as  it  recalls  to 
memory  the  opportunity  he  had  about  three  years  ago  to 
make  me  participate  in  a  real  ti-agedy.  We  were  playino- 
ail  engagement  together  at  the  same  theatre  at  Baltimore, 
and  reversed  Pierre  and  Jaffiei-,  in  Venice  Preserved, 
Othello  and  lago,  and  on  the  second  night  he  played  Othello 
(a  part  he  seldom  personates)  to  my  lago.  After  rehear- 
sal, he  came  to  my  lodgings  and  requested  me  to  go 
through  the  part  with  him  again.  'lago,'  said  he,  'you 
must  do  your  d— d'st  to-night,  or  I  shall  play  you  down.' 
There  was  a  singularity  in  his  manner  which  I  had  not 
observed  before,  and  I  must  confess  I  felt  considerable  fear 
that  he  might  fall  into  one  of  his  melancholy  paroxysms 
and  do  me  great  harm.  We  adjourned  to  an  oyster  room, 
and  every  time  an  oyster  was  opened  he  cried  out  '  mur- 
der,' in  various  tones,  with  apparent  horror.  Night  came. 
He  played  Otiiello  splendidly,  and  drew  down  thunders  of 
ai)i)lau.s('.  In  tlie  hist  act,  after  the  death  of  'gentle  Des- 
demona,'  it  se<'med  as  if  all  h —  was  raging  in  his  heart; 
his  eyes  displayed  the  fierceness  of  a  tiger,  and  his  thrust 
at  me  I  really  believe  would  have  been  fatal,  had  I  not  sud- 
denly stepped  aside  to  avoid  it.  Tiie  audience  were  as 
liushed  as  death  ;  my  heart  beat  audibly,  and  it  was  a  min- 
ute or  two  before  1  could  recover  my  self-possession.  A 
short  time  afterwards  1  passed  a  few  days  beneath  his  hos- 
l)itab!e  i-oof,  and  was  treated  with  great  kindness  by  him 
and  his  amialjle  lady.  One  night  I  was  awakened  by  a  tre- 
mendous crash  in  the  next  room.     I  hurried  on  my  dress- 


Theatrical  Reminiscences.  107 

ing  gown  and  ran  in  the  entry  to  see  what  was  the  matter. 
It  seems  that  Booth  had  wound  a  sheet  around  him,  and 
with  light  in  hand,  had  gone  to  liis  aged  father's  room ; 
but  the  old  gentleman,  Avho  happened  to  be  awake  and 
heard  him  coming,  had  dashed  the  bowl  and  pitcher  on  the 
floor  at  his  feet,  as  Booth  entered,  and  effectually  fright- 
ened him  out  of  his  mad  freak.  '  Ah,  Junius,  Junius,'  said 
the  venerable  old  man,  '  Will  you  never  have  done  with 
these  mad  freaks  !'  Alas,  for  Booth !  alas  for  the  prostra- 
tion of  genius!" 

"  So  flourisheth  and  fadeth  majestic  man  ! " 

"  Yours,  truly, 

"C.  H.  EATON." 


CHAPTER  XX. 

GUSTAVUS   V.    BROOKE,   THE    EMIJSTEXT   IRISH    TRAGEDIAN. 

His  Remarkable  Dramatic  CareeiI — His  Rapid  Progress  up  the 
Histrionic  Ladder  to  Fame — His  Extraordinary  Abili- 
ties— His  Successful  Career  in  Europe  and  America — His 
Final  and  truly  Melancholy  Pate. 

Very  many  play-goers  will  no  doubt  remember  this  emi- 
nent actor,  while  playing  at  Harry  Meech's  Museum, 
where  he  was  nightly  greeted  by  large  and  fashionable  au- 
diences, playing  an  unprecedentedly  successful  engagement 
of  twelve  consecutive  nights.  The  always  acceptable  and 
exciting  drama  of  the  "  Corsican  Brothers"  was  first 
played  in  this  country  by  Brooke,  meeting  with  marked 
success  wherever  produced.  The  subject  of  this  sketch 
was  born  in  Dublin,  Ireland,  in  1818,  and  was  conse- 
quently, at  the  time  he  was  in  this  country,  about  forty- 
two  years  of  age.  Mr.  Brooke  was  educated  at  Trinity 
College,  Dublin,  and  w'as  intended  for  the  Irish  bar.  It  is 
somewhat  curious  to  trace  the  dawn  of  tlrat  genius  or  tal- 
ent for  wiiich  men  are  distinguished  in  after  years.  His 
introduction  to  the  stage  savors  more  of  romance  than 
reality.  When  scarcely  sixteen  years  of  age  he  chanced 
to  visit  one  of  the  principal  theatres  of  Dublin,  the  play 
producing  a  positive  impression  upon  his  mind,  and  he  at 
once  determined  to  be  an  actor.     Accordingly,  on  the  fol- 


Theatrical  Reminiscences.  109 

lowins:  dav,  unknown  to  his  family  and  friends,  he  called 
on  the  manager,  and  completely  startled  him  by  gravely 
requesting  him  to  let  him  make  his  appearance  on  the 
stage  of  tiie  Theatre  Royal  in  "  AVilliam  Tell."  Imagine 
a  slender  youth  of  sixteen  calling  on  the  great  autocrat 
of  the  English  Stage,  and  requesting  to  play  ''King 
John,"  and  it  may  be  imagined  what  must  have  been  the 
astonishment  of  the  Dublin  manager.  The  English  man- 
ager, observing  the  manly  and  gentlemanly  bearing  of  the 
boy,  received  him  with  the  utmost  kindness,  at  the  same 
time  pointing  out  the  impropriety  of  the  course,  as  did 
the  veteran  manager  of  the  Walnut  Street  Theatre,  Phila- 
delphia, when  Master  Edwin  Forrest  made  application  to 
appear  upon  the  boards  of  that  establishment.  Master 
Brooke,  like  Master  Forrest,  could  not  be  easily  diverted 
from  his  histrionic  ambition,  and  he  finally  persuaded  the 
manager  to  hear  him  recite  the  celebrated  passage  in  Wil- 
liam Tell,  commencing,  "  Those  crags  and  peaks ;  Avhat 
spired  city  would  I  take  to  live  in,  in  exchange  for  my 
cottage,"  which  was  delivered  with  so  much  force  and  pro- 
priety of  action,  and  elocution,  that  the  manager  could 
not  refrain  from  expressing  his  approval.  So  ended 
Brooke's  first  interview  with  a  manager  of  a  theatre.  A 
circumstance  soon  offered  which  gave  the  future  great 
tragedian  an  opportunity  of  gratifying  his  ambition,  and 
appearing  on  the  stage. 

Edmund  Kean  had  been  announced  to  appear  in  Dub- 
lin, and  much  interest  Avas  of  course  excited  amongst  the 
play-goers  of  that  gay  city.  Just  as  the  time  of  Keau's 
appearance  approached,  the  manager  received  a  letter  from 
London,  intimating  that  Kean  was  "  seriously  ill,"  and 
could  not  possibly  fulfil  his  engagement.  The  manager, 
knowing  too  well  from  experience  the  excitability  of  a 
Dublin  audience,  especially  when  disappointed,  was  at  his 
wits'  ends;   but  he  suddenly  bethought   himself  of  his 


110  Theatrical  Reminiscences. 

young  visitor,  Brooke,  and  knowing  that  his  good  towns- 
men were  easily  pleased  so  long  as  they  had  novelty,  no 
matter  in  what  shape,  he  resolved  to  bring  forward  young 
Brooke  as  a  "  stop-gap."  Accordingly,  young  Brooke  was 
announced  on  the  bills,  and  on  Easter  Tuesday,  1833,  he 
made  his  lirst  appearance  on  a  public  stage,  in  ''"William 
Tell."  The  performance  had  all  the  blemishes  naturally 
to  be  expected  in  an  untutored  lad  of  fifteen,  but  evinced 
the  possession  of  an  histrionic  genius  of  high  promise.  A 
very  competent  theatrical  critic,  shortly  after  this  event, 
wrote  of  him  thus:  "Nature  has  done  a  great  deal  for 
young  Brooke;  his  heart  is  in  his  profession;  he  has  a 
very  pregnant  fancy;  but  of  what  he  has  acquired  from 
art  there  is  much  to  be  unlearned  as  well  as  prosecuted  ; 
his  career  is  of  great  promise,  if  he  be  not  allowed  or 
urged  into  a  wrong  path  at  first,  which  is  too  often  apt  to 
be  the  case  in  young  men  adopting  the  theatrical  profes- 
sion." 

Xow  to  return  to  his  first  appearance  in  Dublin.  His 
effort  in  William  Tell  was  so  successful  that  he,  in  rapid 
succession,  appeared  in  Virginias,  Eolhi,  &c.  Elated  with 
his  success,  he  visited  Glasgow,  Edinburgh,  Belfast,  Cork, 
Manchester,  Liverpool,  and  most  of  the  prominent  theatres 
in  the  three  kingdoms,  in  the  course  of  which  he  imper- 
sonated most  of  the  leading  Shaksperian  parts  with  great 
success. 

In  his  personal  appearance  Mr.  Brooke  was  singularly 
prepossessing.  To  a  tall,  lithe  and  extremely  graceful 
form,  was  added  a  face  full  of  intelligence,  and  of  a  mar- 
velous capability  of  expressing  varied  and  intense  passion. 
His  whole  mein  was  grace  and  dignity;  to  these  outward 
perfections  there  was  the  invaluable  gift  of  a  magnificent 
voice,  from  which  the  grand  swelling  periods  of  regal 
tragedy  to  the  softest  melody  of  the  most  melodious  voice, 
was  eqaally  eliective,  grand  and  beautiful. 


Theatrical  Reminiscences.  Ill 

But  lie  possessed  the  higher  attribute  still  of  a  mind 
which  could  seize  the  conceptions  of  the  great  poet,  and 
give  them  full  and  original  development.  Mr.  Brooke,  it 
is  said  to  his  credit,  was  no  copyist,  beyond  the  mere  me- 
chanical conventionalisms  of  the  stage.  His  rendering  of 
the  lofty  and  passionate  role  of  Othello  was  as  truly  great 
and  original,  it  will  not  be  too  much  to  say,  as  was  the 
conception  of  the  character  by  the  poet  himself.  Com- 
parison will  necessarily  occur  with  the  development  of 
such  a  character  bv  so  great  a  genius  as  Kean  and  other 
eminent  dramatic  artists  of  the  past ;  but  the  necessity  for 
such  com})arison  only  strongly  exhibits  the  power  of  the 
actor.  Take  him,  therefore,  "  all  in  all,"  it  cannot  be  gain- 
sayed  that  no  foreign  actor  who  has  visited  our  shores,  prob- 
ably since  the  days  of  the  great  George  Frederick  Cooke  and 
•Edmund  Kean,  could  compare  with  Gustavus  V.  Brooke. 
The  theatrical  profession  he  chose  from  a  positive  love 
for  it,  and  from  his  earliest  boyhood  evinced  a  desire  of 
fitting  himself  for  the  stage. 

Four-fifths  of  the  young  men  pursuing  the  histrionic 
profession  would  be  far  better  and  more  worthily  engaged 
in  some  mechanical  employment  more  congenial  with 
their  tastes  and  capacities;  but  neither  Brooke  nor  Forrest 
were  of  this  class — they  were  both  natural  actoi-s.  Brooke 
made  his  first  appearance  on  the  American  stage  Dec.  15, 
1851,  at  the  Broadway  Theatre,  New  York,  as  Othello. 
After  performing  in  all  the  principal  cities  in  this  country, 
he  returned  to  England,  visiting  Australia  in  1860,  and 
reappeared  in  London,  after  an  absence  of  several  years, 
at  Drury  Lane  Theatre. 

Poor  Brooke  was  lost  on  the  ill-fated  steamer  London, 
bound  to  Australia,  a  truly  thrilling  account  of  which 
was  published  at  the  time  of  the  disaster,  and  in  which 
Avas  also  given  the  particulars  of  the  courageous  and  noble 
conduct  of  Brooke  in  his  endeavors  to  save  the  vessel, 


112  Theatrical  Reminiscences. 

stripping  to  the  buff,  and  working  at  the  pumps,  till  sink- 
ing from  exhaustion,  went  down  with  all  her  precious 
freight ! 

Brooke  married  Miss  Avoni  Jones,  the  talented  young 
American  actress,  daughter  of  Mrs.  George  Jones,  once 
quite  a  distinguished  tragedienne. 


CHAPTER   XXI. 

WILLIAM   "WAREEX,  THE   EMIXEXT   ECCENTRIC   AMERICAIS" 

COMEDIAX. 

His  First  Appearance  on  the  Stage  in  Philadelphia  as  Youno 
XoRVAL— His  Rapid  Rise  in  His  Profession — His  Immense 
Popularity — His  Appearance  at  the  Albany  Museum — His 
YisiT  to  England — He  Invests  in  Real  Estate  in  Chicago, 
and  Becomes  Quite  Wealthy — His  Distinguishing  Traits  of 
Character,  Private  and  Professional,  etc.,  etc. 

It  is  deemed  unnecessary  to  offer  an  apologv  in  giving 
place  to  the  following  sketch  of  one  so  long  and  favorably 
known  to  tlie  public,  and  especially  to  Albanians.  The 
mention  of  the  name  of  William  Warren  cannot  fail  to 
revive  pleasant  memories  of  other  days,  when  he  was  at- 
tached to  John  B.  Rice's  dramatic  company  at  the  Albany 
Museum.  There  are  scores  of  old  play-goers  who  will 
readily  recall  the  many  delightful  hours  passed  in  witness- 
ing the  incomparable  impersonations  of  eccentric  charac- 
ters by  William  Warren,  and  will  unhesitatingly  endorse 
the  high  and  well  deserved  compliment  accorded  Mr.  War- 
ren by  a  distinguished  theatrical  critic. 

His  father,  William  Warren,  a  very  popular  performer, 
was  born  in  Bath,  England,  and  made  his  first  appearance 
on  the  American  stage  at  the  Chestnut  Street  Theatre, 
Philadelphia,  in  1796,  as  the  Friar,  in  "  Romeo  and  Juliet." 
His  performance  of  "Falstaff,"  was  the  most  noted  of  his 
impersonations.  For  a  number  of  years  he  was  manager 
of  the  Chestnut  Street  Theatre,  but  retired  from  that  posi- 
tion in  1839.  His  death  occurred  in  1832.  His  son,  the 
8 


114  TlTE^VTRICAL    REMINISCENCES. 

subject  of  our  sketch,  was  born  in  Philadelphia  in  1817, 
and  made  his  first  appearance  at  tlie  Arch  Street  Theatre, 
in  tiiat  city,  in  1832,  as  "  Young  .I^orval,"  the  same  part 
in  whicli  his  father  made  his  clehut  at  the  outset  of  his  ca- 
reer. Mr.  Warren  rose  rapidly  in  his  profession  as  a  come- 
dian. In  1841,  he  was  introduced  to  a  New  York  audi- 
ence as  "  Gregory  Guzzle,"  in  "  My  Young  Wife  and  My 
Old  Umbrella."  In  1845,  he  visited  England  and  played 
at  the  Strand  Theatre,  London. 

While  Mr.  Warren  has  less  versatility  than  a  few  emi- 
nent low  comedians  Ave  remember,  as  for  instance,  Finn 
and  Burton,  among  the  past,  in  a  certain  and  by  no  means 
limited  range  of  characters,  Warren  is  unapproachable. 
We  lirst  saw  him  as  Master  Solomon  in  the  "  Stranger." 
It  is  not  much  of  a  part,joer  se,  but  as  he  moulded  and 
filled  it,  it  assumed  a  prominence  and  importance,  and  was 
invested  with  a  ludicrous  richness  of  which  we  had  never 
dreamed  it  capable.  Most  admirably,  too,  does  he  present 
the  assinine  gravity  of  Dogberry.  Every  blunder  of  that 
immortal  functionary,  every  trait  of  his  character,  is  admi- 
rably rendered.  Mr.  Warren  is  noted  for  liis  "  textual " 
fidelity,  following  the  advice  that  Hamlet  gives  to  the  play- 
ers, to  "  speak  no  more  than  is  set  down  for  them."  He 
never  laughs  "  to  set  on  some  quantity  of  barren  specta- 
tors to  laugh  too,"  unless  the  stage  direction  authorizes  it. 
There  is  indeed  no  occasion  for  it,  for  his  dry  humor,  his 
expression,  his  "  make  up,"  are  enough  to  set  the  house 
"in  a  roar"  whenever  he  appears.  AVarren  is  especially 
great  in  eccentric  low  comedy,  particularly  in  those  roles 
which  have  a  dasli  of  the  lachrymose — as,  for  instauce, 
"  Billy  Lackaday  "  in  "  Sweethearts  and  Wives."  We  have 
seen  many  re])resentations  of  that  unfortunate  young 
"Inndling"  who  was  '"ung  up  at  tlie  sign  of  the  'og  in 
armor,"  l)ut  never  one  whose  ludicrous  miseries  so  moved 
our  risiljles  as  Warren's.  In  the  expression  of  his  coun- 
tenance there  is  '"a  whole  Jliad  of  comic  woe."     The  lu- 


Theatrical  Re3iiniscences.  115 

gubrious  hero  of  "  Wilful  Murder,"  also  received  ample 
justice  at  his  hauds.  It  is  in  such  characters,  the  eccen- 
trics, that  Warren  shines  pre-eminently,  though  everything 
he  does,  he  does  Avell  and  acceptably.  His  mere  appear- 
ance on  the  stage  is  always  welcomed  with  hearty  applause, 
and  is  the  harbinger  of  general  good  humor  among  the 
audience.  One  of  the  principal  annoyances  to  which  a 
stock  actor  is  subject,  is  the  necessity  of  frequently  filling 
uncongenial  and  indifferent  parts.  Mr.  Warren  has  his 
share  of  these,  but  his  rich  native  humor  invests  them 
Avitli  a  charm  that  makes  the  worst  of  them  succeed. 
His  stage  individuality  is  perfectly  provocative  of  mirth, 
and  finds  no  exception  in  this  case.  It  is  always  Wak- 
EEX — you  cannot  mistake  the  voice  and  the  air — but  we  are 
quite  content  to  ask  for  nothing  better  than  Warren,  and 
Matthews  and  Flinn  could  change  their  features  and  their 
voices ;  Warren  has  not  this  Protean  faculty.  In  this  re- 
spect he  is  like  Liston,  but  the  London  public  never  com- 
plained that  Liston  was  not  always  the  same.  They  could 
not  see  too  much  of  him — neither  can  we  see  too  much 
of  Warren.  Abernethy's  prescription  for  many  of  the 
"ills  that  flesh  is  heir  to,"  was  "go  and  see  Grimaldi!" 
With  equal  confidence  can  we  recommend  '•  seeing  War- 
ren," as  the  " sovereignist  thing  on  earth"  for  the  blues, 
for  the  spleen,  for  hypochondria,  or  any  phase  of  low  spir- 
its, mental  discouragement,  or  ennui.  Kimball  might 
without  the  slightest  risk  of  having  to  write  a  single  or- 
der on  his  treasurer,  safely  make  a  standing  offer  of  a 
high  premium  for  every  sour  foce  in  his  auditorium 
while  Warren  is  on  the  stage.  An  old  play-goer,  and  given 
rather  to  internal  merriment  over  what  tickles  our  fancy, 
than  to  indulging  in  that  boisterous  demonstration  of 
hilarity  which  is  but  as  the  "crackling  thorns  under  the 
pot,"  we  charge  it  upon  William  Warren  that  he  has  many 
a  time  and  oft  caused  us  to  break  forth  in  noisy  guffaws, 
accompanied  by  tears  of  delight.     If  Mr.  Warren  played 


116  Theatrical  Eemixiscences. 

at  the  Boston  Theatre  he  would  infallibly  ruin  the  stock- 
holders. In  this  wise  :  "  to  laugh  and  grow  fat "  are  cause 
and  effect.  In  a  short  time  the  habitues  of  the  theatre 
would  become  so  corpulent  that  the  iron-armed  chairs 
could  not  contain  them,  and  they  would  abandon  the 
house  from  sheer  necessity !  We  have  spoken  of  Mr.  War- 
ren in  his  professional  capacity ;  let  us  add  that  in  private 
life  he  is  a  gentlemanly,  retiring  man,  of  more  than  re- 
spectable scholastic  attainments,  and  is  held  in  high  regard 
by  those  who  are  honored  by  his  friendship  and  acquaint- 
ance. AVe  have  heard  him  spoken  of  by  those  in  whom 
we  place  the  utmost  confidence  in  a  manner  of  which  any 
man  might  be  justly  proud. 

The  last  appearance  of  Mr.  Warren  in  Albany,  in  a  pro- 
fessional capacity,  was  at  the  Academy  of  Music,  under 
the  management  of  the  late  J.  M.  Trimble,  being  his  first 
appearance  here  since  he  left  the  boards  of  Harry  Meech's 
Museum.  Dui-ing  the  latter  years  of  his  life  Mr.  AVarren 
inclined  very  much  to  obesity,  in  that  respect  resembling 
his  father,  who  weighed  considerably  over  two  hundred 
pounds — so  that  in  playing  Falstaff,  his  favorite  charac- 
ter, he  had  little  necessity  to  '"pad "his  person.  Wil- 
liam, seven  or  eight  years  since,  was  very  slim,  but  splen- 
didly and  symmetrically  formed. 

At  the  time  Chicago  began  to  assume  importance  as  a 
city,  by  the  advice  of  his  brother-in-law,  John  B.  Eice, 
the  worthy  ex-mayor  of  Chicago,  who  had  become  quite 
wealthy  l)y  the  advance  of  property,  Mr.  Warren  invested 
his  surplus  capital  in  real  estate  there,  and  it  so  rapidly 
increased  in  value  as  to  render  him  quite  wealthy.  At 
last  accounts  Mr.  Warren  was  in  England. 


CHAPTER  XXII. 

CHARLOTTE  CUSHMAS",  THE  GREAT  AMERICAX  ACTRESS. 

She  is  of  the  Old  Puritan  Stock — Her  Musical  Education — 
James  Maeder  First  Brings  Her  Out  on  a  Public  Stage  in 
the  Opera  of  the  "Marriage  of  Figaro  "'—She  Goes  to 
Xetv  Orleans,  axd  Xearlt  Losing  Her  Voice  as  a  Singer, 
Decides  to  go  on  the  Stage — Her  Debut  in  JSew  York — 
Also  at  the  Pearl  Street  Theatre.  Albany,  in  1837 — Her 
Visit  to  Europe — Her  Success  in  that  Country — She  Per- 
forms, WITH  Remarkable  Success,  for  the  Benefit  of  the 
Sanitary  Committee,  in  1863 — Large  Receipts — Her  Last 
Appearance  in  Albany,  etc.,  etc. 

No  apology,  we  opine,,  need  be  offered  for  presenting 
the  rather  extended  sketch  of  this  estimable  ladv  and  fine 
artist.  Her  name  and  fame  will  long  remain  fresh  in 
the  memory  of  the  American  pnblic,  and  particularly  in 
that  of  Albany,  where  she  has  been  so  long  and  so  favorably 
known.  There  can  be  very  few  of  our  older  class  of  citizens 
but  will  remember  the  appearance  of  Miss  Cushman  at  the 
celebrated  Firemen's  Ball,  at  the  old  Pearl  Street  Thea- 
tre— an  account  of  which  will  be  found  in  a  previous  chap- 
ter of  this  work — her  majestic  form,  as  she  threaded  the 
mazes  of  the  dance,  towering  above  her  female  compan- 
ions, and  making  her  "'  observed  of  all  observers." 

Charlotte  Cushman  was  born  of  the  old  Puritan  stock,  in 
Boston,  in  1814.  Having  an  excellent  voice,  she  resolved, 
after  she  left  school,  to  make  her  appearance  as  a 
public  singer.     Having  received  thorough  musical  instrnc- 


11^  Theatrical  Reminiscences. 

tions  from  the  best  masters,  she  made  her  first  appearance 
in  public,  in  1830,  at  a  society  concert  given  in  Boston. 
Durino-  the  enffasfement  in  Boston  of  the  celebrated  vo- 
calist,  Mrs.  Jolin  Wood,  Miss  Cushman  sang  at  one  of  her 
concerts;  and  Mrs.  Wood  was  so  pleased  with  her  tine 
contralto  voice,  that  she  advised  her  to  turn  her  atten- 
tion to  singing  on  the  stage.  At  the  Tremont  Theatre, 
Boston,  in  1835,  James  Maeder,  husband  of  Clara  Fisher, 
brought  Miss  Cushman  out  as  the  Countess  of  Almavivi, 
in  the  "  Marriage  of  Figaro."  Shortly  after  this  she  went 
to  New  Orleans,  having  seriously  impaired  and  nearly 
lost  her  voice,  by  trying  to  force  it  up  to  soprano ;  this 
was  the  cause  of  her  adopting  the  stage.  Soon  she 
became  one  of  the  greatest  actresses  that  ever  graced 
the  boards  of  any  theatre  in  this  country  or  in  Eng- 
land, with,  perhaps,  the  exception  of  the  elder  great 
Mi's.  Siddons.  Miss  Cushman  next  appeared  as  Lady  Mac- 
beth at  the  Bowery  Theatre,  New  York,  in  1836.  From  the 
Bowery  she  went  to  the  Park  Theatre,  Avhere  she  became 
a  leading  actress.  In  1837  she  appeared  as  Romeo,  in  the 
tragedy  of  "  Romeo  and  Juliet,"  at  the  old  South  Pearl 
Street  Theatre,  Albany,  meeting  with  a  flattering  recep- 
tion. She  subsequently  appeared  as  Count  Bclino,  in  the 
opera  of  the  "  Devil's  Bridge  " — a  role  in  which  Peter 
Richings  made  his  dehut  at  the  Pearl  Street  Theatre,  and 
continued  througli  a  long  and  protracted  engagement 
of  many  months,  to  perform  in  opera,  tragedy  and  comedy. 
At  that  time  Miss  Cushman  generally  assumed  male  char- 
acters— her  stately  form,  rather  masculine  contour  of 
countenance,  and  powerful  voice,  admirably  adapting  her 
to  the  line  of  male  characters.  They  were  invariably  ren- 
dered most  acceptably  ;  she  also  acquitted  herself  equally 
aa  well  in  female  characters. 

After  leaving  Albany  Miss  Cushman  visited  Philadel- 
phia, making  h^r  first  appearance  as  Lydia  Languish,  at 
Burton's  National  Theatre.     Before  her  great  talent  was 


Theatrical  REinxiscENCES.  119 

as  fully  recognized  at  home  as  it  deserved  to  be,  she  visited 
England.  There  she  found  critics  of  the  most  experienced 
and  exacting  character,  and  they  acknowledged  her  as  one 
of  the  greatest  artistes  of  the  age.  In  1845  she  appeared 
at  the  Princess'  Theatre,  London,  making  her  debut  as 
Bianca  in  "Fazio."  She  was  supported  by  Macready. 
After  three  or  four  years' residence  in  Europe,  she  returned 
to  her  native  land,  and  made  her  appearance  as  Mrs.  Haller, 
in  the  "Stranger,"  at  the  Broadway  Theatre,  New  York,  in 
1849.  In  the  year  1852,  after  playing  a  farewell  engage- 
ment throughout  the  United  States,  she  returned  to  Eu- 
rope, and  after  a  sojourn  thereof  five  years,  again  returned 
to  the  United  States,  making  her  appearance  at  the  Broad- 
way Theatre,  as  Bianca,  in  1857.  In  1858  she  again  sailed 
for  Europe,  and  after  an  absence  of  two  years  returned  to 
New  York,  making  hex  dehut  at  the  Winter  Garden  in  the 
month  of  September,  1860.  On  the  17th  of  October,  1863, 
she  played  Lady  Macbeth  at  the  Washington  Theatre,  to  an 
overflowing  house,  for  the  benefit  of  the  Sanitary  Commit- 
tee. The  sum  accruing  to  the  U.  S.  Sanitary  Commis- 
sion from  the  several  performances  of  Miss  Cushman, 
amounted  to  §8,207.29, as  follows:  Philadelphia, 81,314.27; 
Boston,  $2,020.75 ;  Washington,  $1,800 ;  Baltimore,  $360 ; 
New  York,  $2,772.27. 

At  last  accounts  Miss  Cushman  was  playing  at  the  West 
and  SouthAvest  with  very  flattering  success.  AVhile  per- 
forming at  a  Chicago  theatre  she  was  the  recipient  of  a 
very  valuable  present,  as  a  token  of  the  high  regard  they 
entertained  for  her,  individually  and  professionally,  from 
the  company  attached  to  the  theatre.  The  event  was  a 
perfect  surprise  to  her ;  she  was  deeply  affected,  and  made 
her  acknowledgments  of  the  compliment  in  a  neat  and 
very  feeling  address.  The  last  appearance  of  this  lady  in 
Albany  was  at  Martin  Opera  House,  as  a  reader  before  the 
Christian  Association.  A  short  time  previous  she  appeared 
at  Martin  Opera  House  with  J.  B.  Booth's  Boston  Combi- 


120  Theatrical  Reminiscenced. 

nation  Dramatic  Troupe,  attracting  excellent  audiences. 
Those  who  were  so  fortunate  as  to  witness  her  Lady  Mac- 
beth, Queen  Kathrine,  and  Meg  Merrilles,  will  not  soon  for- 
get the  rich  intellectual  feast  they  enjoyed ;  her  portrayal 
of  various  scenes  wherein  the  sufferings  of  the  miich  abused, 
divorced  Queen,  were  so  truthfully  and  pathetically  de- 
picted by  this  great  artist,  as  to  bring  many  an  unbidden 
tear  to  the  eyes  of  the  large  audience  present.  But  the 
Meg  Merrilles  of  Miss  Cushman  is  the  most  positively 
electrical,  and  /ert//^//^  grand,  of  all  her  inimitable  per- 
sonations. Miss  Cushman  has  made  Meg  Merrilles  a 
specialty — in  fact  wholly,  exclusively  her  oion — and  no 
rival  in  it  on  either  the  American  or  British  boards;  those 
who  have  once  witnessed  her  in  the  "  Old  AYitch,"  will 
have  little  desire  to  see  any  other  person,  however  eminent 
that  person  may  be,  in  that  peculiar  role.  It  would  seem 
as  though  when  he  wrote  Guy  Mannering,  Sir  Walter  Scott 
must  have  had  Charlotte  Cushman  in  his  mind's  eye,  as 
the  proper  representative  of  Old  Meg. 


CHAPTER  XXIII. 

EDWAKD    L.    DAVENPOET. 

His  First  Appearance  on  the  Public  Stage — His  Rapid  Progress 
IN  THE  Profession — His  Remarkable  Versatility — His  Apti- 
tude FOR  Study — His  Success  on  the  London  Boards.  Playing 
WITH  Mrs.  Mo'n^ATT  and  Macreadt — His  First  Appearance 
on  the  British  Stage  as  Claude  Melnotte  —  The  London 
Critics  Award  Him  Unqualified  Approbation — His  Private 
AND  Public  Character. 

The  annexed  brief  sketch  of  this  universally  popular 
and  eminent  American  actor,  will,  we  venture  to  say,  be 
appreciated  by  all  who  have  witnessed  his  incomparable 
impersonation  of  Shaksperian  and  other  roles.  Mr.  Da- 
venport's laurels  are  all  legitimate.  Less  than  any  other 
popular  performer,  who  has  a  high  position,  is  he 
liable  to  the  charge  of  ad  captandum  tactics  (catch  the 
rabble.)  He  does  not  seek  to  take  his  auditors  by  storm; 
he  is  content  with  winning  them.  In  his  impersonations, 
calm  judgment  controls  his  impulses;  his  action  and 
declamation  are  never  measured  and  guaged  by  the  popu- 
lar applause,  but  regulated  by  his  own  correct  taste.  He 
appears  utterly  unconscious  of  the  presence  of  his  audi- 
ence. With  some  actors  the  first  point  is  to  establish  a 
line  of  communication  with  the  audience;  to  enlist  them 
by  appealing  looks  and  gestures;  to  make  them  the  parti- 
zans  of  the  man,  not  judges  of  the  actor,  and  then,  as  far 
as  applause  is  concerned,  their  triumph  is  secure.    If  ue- 


122  Theatrical  Reminiscences. 

cessaiT,  a  direct  appeal  Avill  secure  the  coveted  "three 
rounds"  at  any  given  moment.  Mr.  Davenport  never 
descends  to  snch  violation  of  the  proprieties  of  acting. 
His  conception  of  character,  matured  in  his  closet,  is  pro- 
duced upon  the  stage  as  he  has  learned  to  understand  it. 
He  leaves  nothing  to  chance-thought.  Of  course,  like 
every  man  of  genius,  he  is  not  insensible  to,  or  unaided 
by,  the  inspiration  of  the  hour.  In  reviewing  any  one  of 
his  delineations,  one  is  struck  Avith  its  harmony.  None  of 
its  local  lights  and  shades  will  be  found  to  have  been  ex- 
aggerated,  but  the  various  parts  appear  so  duly  balanced, 
that  the  impression  left  upon  the  mind  is  precisely  that 
produced  by  a  well  drawn,  Avell  grouped,  and  Avell  colored 
picture.  Mr.  Davenport's  mental  qualifications  for  his 
profession  are,  in  the  first  place,  a  hearty  love  of  it ;  and 
also,  a  sound  judgment,  great  energy,  and  an  aptitude  for 
study.  Physically,  he  is  possessed  of  a  good  face  and  fine 
figure,  and  a  voice  which,  though  not  adequate  to  long  con- 
tinued rants  in  the  "circles  vain,"  is  yet  sufficiently  pow- 
erful, musical  and  flexible.  His  attitudes  are  picturesque 
without  exaggeration,  his  gestures  graceful  and  appropri- 
ate ;  his  versatility  of  talent  is  quite  remarkable.  He  plays 
with  success  Hamlet,  Othello,  Junius  Brutus,  Eomeo, 
Enoch  Arden,  AVilliam  in  Black  Eyed  Susan,  etc.,  etc., 
parts  as  dissimilar  as  can  well  be  imagined.  He  sings  a 
good  song,  and  used  to  dance  a  good  hornpipe.  Few  per- 
sons on  tlie  stage  can  do  so  many  things  so  well.  Mr. 
Davenport  was  born  in  Boston,  in  1830,  and  went  on  the 
stage  at  the  age  of  16,  playing  at  Providence,  as  Wildo 
in  "  New  Way  to  Pay  Old  Debts." 

From  the  Tremont  Theatre,  Boston,  Mr.  Davenport 
went  to  Philadelphia,  and  remained  there  eight  years; 
he  subsequently  engaged  under  Hamblin,  on  the  Bowery 
stage,  and  at  once  became  a  great  favorite.  An  important 
event  in  his  theatrical  career  was  his  engagement  with 
Mrs.  Mowatt,  in  1847.      After  making  the  tour  of  the 


Theatrical  Reminiscences.  123 

States  -with  her,  they  embarked  for  Enghiiifl.  His  first  ap- 
pearance on  the  British  stage  was  at  Manchester,  as  Chuide 
Melnotte,  in  the  "  Lady  of  Lyons,"  and  he  afterward  made 
liis  debut  at  the  Princes'  Theatre,  London,  where  his  recep- 
tion, both  by  the  public  and  the  critics,  was  cordial  and 
hearty.  He  was  equally  successful  in  playing  with  Mrs. 
Mowatt  during  their  sojourn  in  England.  Mr.  Webster, 
of  the  Haymarket  Theatre,  London,  engaged  Mr.  Daven- 
port to  support  Macready  during  the  final  engagement 
of  that  eminent  tragedian  at  that  theatre.  Mr.  Davenport 
alternated  with  Macready,  and  performed  Othello,  lago, 
Brutus  and  Cassio,  besides  various  juvenile  tragedy  roles 
that  fell  to  his  lot  on  other  occasions.  The  British  press  was 
remarkably  unanimous  in  its  commendations  of  our  coun- 
tryman, the  most  influential  journals  and  severest  critics 
uniting  in  awarding  him  unqualified  approbation.  Mr. 
Davenport  is  highly  esteemed  in  private  life,  and  as  a  man ; 
as  an  actor  he  reflects  credit  on  his  profession,  and  proves 
a  great  favorite  wherever  he  goes.  His  Hamlet  is  pro- 
nounced by  many  competent  theatrical  critics  to  be  one 
of  the  best  in  the  country,  not  excepting  Edwin  Booth, 
who  has  made  Hamlet  a  specialty.  Mr.  Davenport  has 
ever  been  a  favorite  of  the  play-going  public  of  Albany, 
his  appearance,  no  matter  in  what  role,  being  received  with 
great  satisfaction.  His  last  appearance  in  Albany  was  at 
the  Capitol  Theatre,  where  he  played  a  very  successful  en- 
gagement. 


CHAPTEU  XXIV. 

JAMES   E.   MURDOCK,   THE   GREAT   ACTOR   AND   ELOCU- 
TIONIST. 

He  Commexces  his  Early  Private  Career  in  the  Capacity 
OF  A  Bookbinder— Commences  his  Dramatic  Career,  as 
an  Amateur,  making  his  First  Appearance  as  Glenalvon,  in 
THE  Tragedy  of  "  Douglas  "—His  First  Appearance  on  a 
Public  Stage,  in  Philadelphia,  as  Frederick,  in  "  Lover's 
Yows  " — After  becoming  Dii^tinguished  as  an  Actor,  goes  to 
Europe— Meets  with  Success— He  Leaves  the  Stage  and 
Enters  the  Army  at  the  Outbreak  of  the  Kebellion— Per- 
forms Good  Service  in  Administering  Consolation  and  Ke- 
LiEF  TO  our  Wounded  and  Sick  Soldiers— He  turns  Parmer. 

This  accomplished  gentleman,  and  pre-eminent  elocu- 
tionist and  dramatic  artist,  is  so  widely  and  favorably 
known  and  appreciated,  that  it  would  seem  quite  super- 
fluous at  this  time  to  give  more  than  a  brief  sketch  of  his 
private  and  histrionic  career.  To  Albanians,  in  particular, 
the  name  of  James  E.  Murdock  has  been  for  many  years 
as  familiar  as  household  words,  for  he  has  endeared  him- 
self to  them  by  his  exalted  genius,  gentlemanly  bearing, 
and  his  many  social  qualities.  AVhen  last  heard  from,  he 
was  residing  on  his  farm  in  Ohio,  in  the  full  possession 
of  all  his  faculties,  and  in  the  A^ery  best  of  health. 

Mr.  Murdock  was  born  in  Philadelphia — the  mother  of 
so  lartre  a  number  of  eminent  American  actors  —  in 
I. Si 2,  and  learned  the  bookbinding  business  with  his 
father.  Like  Edwin  Forrest,  ho  commenced  the  pro- 
fession at  the  lower  round  of  the  dramatic  ladder,  joining 


Theatrical  Reminiscexces.  125 

an  amateur  association,  and  making  his  appearance  as 
Gleualvon,  in  the  tragedy  of  "  Douglas."  His  first  dehut 
on  a  public  stage  was  in  1829.  at  the  Ai-ch  Street  Theatre,  ■ 
Philadelphia,  as  Frederick,  in  "  Lover's  Vows."  In  1830 
he  appeared  as  Young  Xorval,  at  the  Chestnut  Street 
Theatre.  The  coincidence  is  rather  remarkable  that  For- 
rest, Murdock,  and  other  young  American  dramatic 
aspirants,  especially  Philadelphians,  commenced  their 
career  in  the  same  line  of  characters,  viz :  Young  Xorval, 
Frederick,  in  "  Lover's  Yows,"  etc.  His  first  public  ap- 
pearance in  New  York  was  at  the  Park  Theatre,  as  Bene- 
dick, in  "  Much  Ado  About  Nothing."  After  performing 
several  engagements  in  Philadelphia  and  New  York,  in 
1842,  he  retired  from  the  stage  for  the  purpose  of  devot- 
ing a  few  years  in  a  more  thorough  course  of  mental 
training  than  the  earlier  career  of  his  profession  had 
afforded  him. 

"  Col.  Brown's  History  of  the  Stage  " — to  which  we  are 
indebted  for  some  facts  and  data  regarding  several  mem- 
bers  of  the  profession — remarks,  that  the  science  of  elocu- 
tion, always  a  favorite  study  with  Mr.  Murdock,  presented 
the  means  of  maintenance,  and  at  the  same  time  advanced 
the  purpose  he  had  in  view.  The  acknowledged  success 
and  approbation  universally  awarded  principal  characters 
by  the  leading  journals  of  the  day,  that  attended  a  series 
of  interesting  lectures  on  Shakspeare,  delivered  iu  Bos- 
ton, New  York,  Philadelphia,  and  other  cities,  revived 
the  desire  to  tread  the  boards ;  and  after  a  period  of 
several  months  devoted  to  study  and  the  preparation  of 
a  stage  wardrobe,  Mr.  Murdock  presented  himself  before 
a  New  York  audience  at  the  Park  Theatre,  in  1845,  as 
Hamlet.  In  1853  he  visited  California,  making  his  dcbnt 
at  the  American  Theatre.  In  1856  he  visited  England, 
makinor  his  debut  as  Young  Mirabel  at  the  Havmarket 
Theatre ;  and  after  playing  a  very  flattering  engagement 
returned  to  America,  appearing  in  1857,  at  the  New  Y''ork 


126  Theatrical  Reminiscences. 

Metropolitan  Theatre,  and  afterwards  in  Philadelphia. 
He  then  purchased  a  farm  in  Lebanon  county,  Ohio,  where 
we  find  him,  in  1858,  engaged  in  tilling  the  soil,  raising 
corn,  potatoes,  and  cereal  grains,  and  monarch  of  all  he 
surveyed. 

murdock's  war  record. 
Here  comes  the  most  important  era  in  the  career  of  this 
eminent,  patriotic,  large-hearted  man.  When  the  stu- 
pendons  rebellion  broke  out,  Mr.  Murdock  was  just  com- 
pleting an  engagement  in  Milwaukee,  and  at  the  first  tre- 
mendous excitement  by  the  attack  upon  Fort  Sumter,  he 
Avas  en  route  to  Pittsburg,  where  he  was  under  a  professional 
engagement.  On  his  arrival  there  he  found  his  youngest 
son  had  enlisted  in  the  Cincinnati  Zouave  Guard,  and 
passed  through  Pittsburg  before  Mr.  Murdock  arrived  in 
that  city,  bound  for  Washington.  Although  his  name  was 
•on  the  bill  for  that  night,  Mr.  Murdock's  large  patriotic 
heart  could  not  resist  the  impulse  to  follow  his  son.  Pack- 
ing up  his  trunks  and  forwarding  them  on  to  his  home 
in  Ohio,  he  threw  up  his  engagement,  solemnly  declaring 
it  should  never  be  opened,  and  that  he  would  never  act, 
till  the  rebellion  was  overcome  and  peace  proclaimed! 
During  four  years  he  devoted  himself  with  all  his  heart 
and  all  his  ener":ies  to  the  cause  of  his  beloved  countrv. 
He  had  earnestly  hoped  to  be  able  to  serve  as  a  soldier, 
but,  after  several  attempts,  his  health  became  greatly  im- 
paired and  he  found  himself  an  incumbrance  instead  of  a 
help.  He  abandoned  the  idea  of  serving  his  country  in 
arms,  and  devoted  himself  to  our  sick  and  wounded  sol- 
diers, reading  to  and  encouraging  the  men  in  tlie  field, 
visiting  the  hospitals,  and  giving  entertainments  through- 
out the  country  for  the  aid  of  tiie  Sanitary  Commission. 
Like  the  bards  of  olden  times,  he  inspired  his  hearers  with 
tiie  ardor  of  battle,  and  urged  them  to  noble  deeds  of 
durin;;.     Mr.  Murdock  was  appointed  Volunteer  Aid   ou 


Theatrical  Reminiscences.  127 

the  staff  of  Gen.  Rosseau.  Keeping  his  word  most  reli- 
giously, he  did  not  reappear  on  the  stage  until  October  23, 
1865,  when  he  commenced  an  engagement  at  Pike's  Opera 
House,  Cincinnati,  which  proved  one  of  the  most  bril- 
liant engagements  ever  performed  by  any  star  actor  in 
that  city. 

MURDOCK'S   first   CLAUDE   MELNOTTE, 

Mr.  Murdock  was  the  first  Claude  Melnotte  in  Philadel- 
phia, and  the  second  representative  of  that  character  in 
America — Edwin  Forrest  having  been  the  first.  Mr.  Mur- 
dock's  recitation  is  considered  to  be  one  of  the  most  easy, 
natural  and  effectual,  of  which  our  stage  can  boast.  He 
never  ''o'ersteps  the  modesty  of  nature;"  is  clear  and 
remarkably  distinct  in  his  articulation,  correct  and  spirited 
in  his  gestures,  and  a  perfect  master  in  the  delineation  of 
the  passions.  He  has  won  a  high  and  enviable  character 
as  an  artist,  and  his  urbanity  and  general  deportment  have 
gained  for  him  the  very  highest  reputation  as  a  gentleman. 
Mr.  Murdock  is  a  scholar  in  his  art,  with  a  mind  and  soul 
full  of  the  poetry  of  the  world,  and  a  voice  musically  or- 
ganized and  attuned  to  melody.  We  have  not  heard  of 
his  appearing  as  an  actor  for  some  time  past,  his  time  and 
attention  being  devoted  to  public  readings  and  lecturing. 

In  closing  this  sketch  of  this  distinguished  gentleman, 
or  eminent  actor  and  elocutionist,  it  may  not  be  deemed 
inappropriate  to  relate  the  annexed  very  amusing  anec- 
dote or  incident  relating  to  '' Farmer"  Murdock: 

When  cultivating  his  farm  in  Ohio,  he  rode  to  town 
carrying  a  quantity  of  calf  skins  to  sell.  Driving  to  the 
tannery,  he  met  the  proprietor,  of  whom  he  enquired, 
'•  What  are  you  paying  for  calf-skins  to-day  ?  "  The  tan- 
ner, to  whom  Murdock  was  an  entire  stranger,  took  a  huge 
chew  of  tobacco,  thrust  both  hands  in  his  pockets,  and  re- 
plied with  a  lazy  air,  that  he  "didn't  know— he  wasn't  sure 
that  he  wanted  any  calf-skius  at  all."    Murdock's  anger  was 


128  Theatrical  Reminiscences. 

at  once  considerably  aroused  with  the  fellow's  mixture  of 
impudence  and  indifference.  Struiglitening  himself  into 
an  acting  attitude,  he  delivered  a  splendid  piece  of  vitu- 
peration from  one  of  Shakspeare's  plays.  The  tanner 
soon  chauged  indifference  into  amazement  and  admira- 
tion. The  tanner  was  a  very  ignorant  man,  but  Murdock's 
oratory  and  Shakspeare's  words,  had  completely  transfixed 
him !  When  the  "  piece  "  was  finished,  the  tanner  reached 
out  his  hand  saying,  "Who  are  you,  Mister?  If  you'll 
only  say  that  'ere  speech  over  agin,  I'll  give  you  a  dollar 
a  pound  for  your  calf-skins  I"  Murdock  gave  him  his 
name,  sold  the  skins,  and  the  two  enjoyed  a  hearty  laugh 
over  the  amusing  incident. 


CHAPTER  XXY. 

THE   ALBANY  HISTRIOXIC  ASS0CIATI02^. 

Its  Organization — Its  First  Dramatic  Kepresentation  in  the 
Old  Thespian  Hall,  North  Pearl  Street — Its  Struggles 
against  Fanatic  Interference — Its  Final  Triumph — List  of 
ITS  Prominent  and  Acting  Members — The  Histrionic  Society 

FORMS  THE  NUCLEUS  TO  THE  FORMATION  OF  THE  ALBANY  BUR- 

GESSEs'  Corps  ;  also  to  the  Young  Men's  Association. 

The  "  Theatrical  Reminiscences  "  of  Albany  would  be 
very  incomplete  were  not  some  allusion  made  to  the  old 
"  Histrionic  Association,"  an  association  that,  for  a  num- 
ber of  years,  was  one  of  the  institutions  of  the  city,  and 
numbered  among  its  members  many  who  have  since  been 
prominent  in  social  and  public  life. 

It  had  its  origin  at  a  time  when  the  drama  flourished, 
in  all  its  vigor,  at  the  old  Pearl  Street  Theatre.  Its  light 
of  life  flickered  and  Avent  out  when  Albany  ceased  to 
number  a  theatre  among  its  attractions  and  places  of  re- 
creation and  enjoyment. 

The  Albany  Histrionic  Association  was  organized  June 
6,  1827,  for  the  purpose  of  improvement  in  reading  and 
speaking,  and  for  the  representation  of  plays,  blending 
amusement  with  instruction. 

The  first  officers  were:  Wm.  S.  Campbell,  President; 
James  S.  Tobey,  Manager ;  John  Yisscher,  Treasurer ; 
Frederick  J.  Hosford,  Secretary. 

The  following  gentlemen  were  the  members  who  par- 
ticipated in  the  first  representation,  July  24, 1827:  George 


130  Theatrical  Keminiscences. 

Vance,  jr.,  William  Thompson,  Henry  Glen,  James  Duffy, 
Thomas  Crowe,  Naham  Eice  and  Kobert  C.  Yates. 

The  pieces  performed  were  "  Eaising  the  Wind,"  and 
"  Bombastes  Furioso." 

NAMES   OF   MEMBERS. 

The  association  at  first  occnpied  the  old  "  Thespian 
Hall,"  located  at  No.  105  North  Pearl  street,  on  Clinton 
sqnare,  (now  the  residence  of  Lansing  Pruyn,  Esq.,)  and 
continued  to  occupy  it  for  seven  years,  or  until  1834.    Dur- 
ing  this   time,  prominent   among   the   acting   members 
were :  Henry  Carpenter,  Jeremiah  C.  Lamphere,  Edwin 
J.  Porter,  John  Gregory,  Sanford  Cobb,  Friend  Lawrence, 
William  Ford,  Orville  Rowe,  John  D.  Kearney,  John  Os- 
born,  Philo  K.  Cole,  Horace  Pierce,  W^illiam  McCammon, 
James  ^y.  Parsons,  Addison  Low,  Alvah  M.  Lockwood, 
John  Gardner,  George  Trumbull,  Arthur  C.  Southwick, 
Russell   G.   Higgins,    Charles    Van    Ostrand,    Cornelius 
Wendell,  John  S.  Vedder,  Harvey  J.  Stevens,  James  F. 
Campbell,  Samuel  Payne,   Charles  Woodhouse,   Rawson 
Packard,  Ira  Porter,  Peter  E.  Bowman,  Benj.  R.  Spclman, 
Townsend  Parish,  Samuel  R.  Swain,  Elijah  Sinith,  H.  J. 
Radcliff,  Theodore  F.  Sharp,  Stephen  Bell,  Austin  Pinney, 
David  Roe,  Samuel  D.  Tracy,  Benedict   Lewis,    George 
Hocknell,  John  E.  Reese,  Ogden  N.  Covert,  Walter  Dela- 
mano.  E.  C.  Blakeman,  William  Rice,  Albert  Dibble,  John 
Silsbey,  Henry  W.  Silsbey,  Walter  Whitney,  Samuel  Pin- 
cott,  Charles  H.  AVatts,  Justus  B.  Todd,  John  Campbell 
and  Cornelius  Quackenbush. 

CLASS   OF   PIECES. 

The  class  of  pieces  performed  Avere:  "The  Poor  Gentle- 
man," "Wild  Oats,"  "The  Soldier's  Daughter,"  "The 
Dramatist,"  "  William  Tell,"  "Honeymoon,"  "Speed  the 
Plough,"  "  The  Way  to  Get  Married,"'"  Laugh  When  You 
Can,"  "School  of  Reform,"  "Road  to   Ruin,"  "Heir  at 


Theatrical  Kemixiscences.  131 

Law,"  "Wheel  of  Fortune,"  "The  Eivals,"  "  Secrets  Worth 
Knowing,"  "Education,"  "Othello,"  "  Barbarossa,"  and 
others,  together  with  a  great  variety  of  after-pieces ;  all  of 
these  were  sustained  with  great  credit,  and  always  to  full 
houses,  for  there  was  no  charge  for  admission,  each  mem- 
ber having  his  share  of  tickets  to  give  to  his  friends.  The 
tickets  were  sought  after  and  engaged,  for  weeks  before 
the  performance,  by  young  gentlemen,  to  enable  them  to 
secure  the  attendance  of  their  young  lad}^  friends. 

The  "public  nights"  took  place  about  once  in  six 
weeks,  interspersed  with  songs  and  recitations;  the  re- 
hearsals were  once  or  twice  a.  week.  The  rules  and  regu- 
lations were  strictly  enforced,  and  no  member  was  allowed 
to  appear  on  a  public  stage.  They  held  "  the  mirror  up 
to  nature"  for  their  mutual  and  social  enjoyment.  Capt. 
Johnny  Cook's  Band  "  did"  the  music. 

After  having  made  some  improvements  to  old  "  Thespian 
Hall,"  the  29th  representation  was  given  June  27,  1833. 
It  cannot  be  better  described  than  by  inserting  an  address, 
written  for  the  occasion  by  a  member,  Charles  AVoodhouse, 
and  delivered  by  Cornelius  Wendell.  The  pieces  per- 
formed on  this  occasion  were  "'  Secrets  Worth  Knowinsr " 
and  "  Frightened  to  Death." 

FIEST   ADDRESS. 

Before  those  secrets  we  unfold  to  view, 

"Well  worth  the  ken  of  each  and  all  of  you ; 

And  eve  the  vital  flame,  (by  mome  called  breath,) 

Is  thought  extinct  in  poor  Jack  Phantom's  death ; 

Ere  we  divulge  the  first,  or  bring  to  sight 

One  of  those  unseen  ghosts  that  walk  by  night. 

And  make  grown  babies  quake  with  dreadful  fear — 

Old  women's  faces  look  so  doleful  queer, 

That  one  would  think,  (if  mirth  did  not  prevent.) 

They  stretched  their  jaws  to  give  their  knowledge  vent, 

Or.  for  patent  fly-traps  did  intend  'em,' 

So  strangely  droll  they  twist  and  bend  'em' — 

Before,  I  say,  these  things  are  shown  to  you, 

And  to  your  vision  clearly  held  to  view; 


132  Theatrical  Reminiscences. 

I  am  deputed  an  address  to  speak 

To  these,  our  frieuds,  that  with  their  presence  greet, 

And  cheer,  with  smiles,  of  full  approbation, 

The  Histrionic  Associatiox. 

New  alterations  here,  you  now  behold 

Have  taken  place— to  speak  of  these  I'm  told: 

First,  then,  the  floor, — the  antiquated  floor, 

Which  oft  hath  witnessed  the  tremendous  roar, 

And  seemed,  in  spite  of  age,  to  laugh  outright, 

"Whene'er  the  time  came  round  for  Public  night, — 

Our  ancient  floor  has  been  most  rudely  torn 

From  off  the  stage,  and  without  feeling  borne 

By  impious  hands  to  serve  for  fuel, 

Perhaps,  to  boil  some  old  maid's  gruel ; 

It  can  no  more  it's  uncouth  form  disclose, 

Nor  will  the  jest  awake  its  last  repose, — 

'Tis  gone,  and  one  of  modern  style  succeeds. 

To  chronicle  our  after  coming  deeds. 

And  Innovation,  not  too  content  to  stop 

It's  onward  course,  or  yield  it's  right  a  jot. 

Has  fartlier  gtme, — and  pillars  rise  to  vieAv, 

To  'dorn  our  stage  and  beautily  anew. 

Our  chandelier  is,  by  some  means  untold. 

Transformed  from  Tin,  to  brilliant,  shining  Gold. 

The  Painter,  too,  hath  here  displayed  bis  art. 

And  so  our  room  new  beauties  doth  impart; 

Art's not  Xature's  beauties,  for  those  you  know, 

Are  seated  there  in  (me  delightful  row. 

A  ventilator,  too,  jj-ou  see  is  there, 

To  fan  the  ladies  with  the  evening  air. 

In  fine,  to  make  my  story  short  and  clear, 

"We've  done  our  best,  our  numerous  friends  to  cheer; 

Kefine  the  mind,  and  elevate  the  soul, — 

Vile  jiassion's  crush  that  in  guilt's  bosom  roll ; 

Exhibit  virtue  in  her  every  grace, 

Her  holy  joys  thro'  all  her  hardships  trace ; 

And  tear  the  veil  from  vice's  haggard  brow — 

In  the  vile  earth  her  frightful  visage  bow, — 

Enforce  this  truth,  (the  Drama's  end  and  aim, 

For  which  in  Greece  she  first  obtained  the  name,) 

Tiiat  virtue  only  can  pure  joys  l)estow. 

And  cause  the  mind  sweet  happiness  to  know; 

■While  vice  with  her  dread,  deadly,  venomed  sting. 


Theatrical  Reminiscences.  133 

Doth  naught,  but  empty,  transcient  pleasures  bring. 

And  if  iu  this  we  shall  successful  be, 

(And  that  we  shall  your  partial  eyes  will  see,) 

We'll  be  content,  and  with  new  vigour  try 

To  please,  delight,  perliaps  to  edifj'. 

Proclaim  the  drama's  end — that  end  attain, 

Her  moralizing  sway,  once  more  regain, 

"With  satire,  lash  the  foibles  of  the  age. 

Improve  our  ethics,  and  adom  the  stage. 

Thus  shall  we,  our  labors  being  ended. 

Find  "  Amusement  with  instruction  blended." 

The  35th  representation,  and  last  in  old  "Thespian 
Hall,"  took  place  April  10,  1834,  and  the  pieces  performed 
were  "  The  Wheel  of  Fortnne  "  and  "  X.  Y.  Z." 

A  new  era  in  the  history  of  the  Association  now  opened. 
It  seemed  to  be  so  firmly  established  in  public  favor,  and 
its  representations  gave  so  much  delight  to  crowded  audi- 
ences of  the  "best  society"  of  the  city,  that  larger  accom- 
modations Avere  demanded.  A  resolution  was  adopted, 
and  a  committee  was  appointed,  consisting  of  Benjamin 
R.  Spelman,  Cornelius  Wendell  and  George  Trumbull,  to 
which  was  added  Arthur  C.  Southwick,  Jessee  Potts  and 
J.  E.  Reese,  to  enquire  into  the  expediency  of  leasing  a 
lot,  and  erecting  a  suitable  building  for  the  use  of  the 
Association. 

The  committee  reported  in  favor  of  leasing  the  lot 
No.  136  North  Pearl  street,  (then  Orchard  street,)  now 
the  beautiful  grounds  of  Wni.  Gr.  Thomas,  Esq.,  and  erect- 
ing a  suitable  building  on  the  same,  and  Cornelius  Wen- 
dell, B.  R.  Spelman  and  Addison  Low  were  appointed  and 
constituted  trustees,  to  carry  the  same  into  effect.  They 
leased  the  lot,  made  a  contract  for  the  building,  and  issued 
stock  for  its  payment,  every  dollar  of  which  was,  in  a  few 
years,  paid.  They  were  subsequently  directed  to  purchase 
the  lot,  which  tliey  Aid.  The  affairs  of  the  Association 
went  on  for  a  number  of  years  in  the  most  flourishing 
condition;    the    "old  stagers"   of    the    Association    had 


134  Theatrical  Keminiscekces. 

become  *•' stars,"  and  their  friends,  who  Avere  "legion," 
took  pleasure  iu  their  performances  Avhenever  they  could 
obtain  tickets.  The  members  formed  a  band  of  amateur 
musicians,  and  their  "  annual  sleigh  ride,"  composed  of 
a  party  of  from  forty  to  sixty,  was,  for  a  number  of  years, 
one  of  the  features  of  the  Association. 

ALBAXY    burgesses'    CORPS. 

It  Avas  at  about  this  period  that  the  organization  of  the 
Albany  Burgesses'  Corps  took  place,  and  among  its  first 
and  foremost  members,  Avho  Avere  tlie  originators  and  for 
many  years  the  long-continued  members  of  the  Corps, 
Avere  John  Visscher,  George  Vance,  jr.,  Cornelius  Wendell, 
Benjamin  E.  Spelman,  Addison  Loav,  Ira  Porter,  John 
Osborn,  George  Trumbull,  Alvah  M.  LoclcAvood — all  promi- 
nent in  the  "Histrionic  Association."  A  corps  so  re- 
noAvned  for  discipline  and  soldierly  bearing — whose  name, 
"  A.  B.  C,"  stands  at  the  head  of  the  alphabet,  and  of  the 
citizen  soldiery  of  the  country — subsequently  numbered 
in  its  ranks  others  of  the  Histrionic  Association,  prominent 
among  Avhom  we  recollect  Hale  Kingsley,  Benjamin  M. 
Briare,  Stephen  W.  Whitney,  William  R.  Whitney,  Wil- 
liam D.  Mahoney,  William  H.  Low,  Thomas  R.  Courtney, 
Alphonso  Walker,  William  Harbison  and  Henry  C.  Has- 
kell. 

It  Avas  Jolin  Visscher  who  drcAV  up  the  call  and  obtained 
subscribers  for  the  first  meeting,  at  Avhich  Avas  organized 
the  All)any  Burgesses'  Corps.  It  Avas  John  Visscher  Avho 
proposed  the  name  Avhich  Avas  adopted  by  the  corps,  and 
has  since  been  so  much  respected  and  admired.  From  the 
list  of  members  of  the  old  Histrionic  Association,  and 
others,  a  committee  Avas  selected  to  Avait  on  Col.  John  0. 
Cole,  then,  as  now,  an  esteemed  and  respected  citizen,  and 
request  his  acceptance  of  the  command  of  the  Corps. 

He  Avas  the  first  commander  of  the  company  at  its  or- 
ganization, in  1833.     Although  forty  years  have  passed 


Theatrical  Reminiscences.  135 

away,  his  venerable  form  is  among  us,  as  one  of  the  "  Old 
Guard,"  almost  as  buoyant  as  in  his  youthful  days,  re- 
spected and  loved  by  his  old  comrades,  and  by  every  mem- 
ber of  the  Corps. 

YOUNG   mens'   ASSOCIATION". 

It  was  about  this  time  that  the  organization  of  the 
Young  Men's  Association  also  took  place,  and  prominent 
among  the  first  members  were  most  of  the  members  of 
the  Histrionic.  The  names  of  George  Vance,  jr.,  Corne- 
lius AVendell,  Arthur  C.  Soathwick  and  others,  will  ever 
be  affectionately  remembered  by  their  surviving  compan- 
ions in  these  several  institutions. 

The  Histrionic  Association  dnring  the  summer  of  1834 
had  completed  their  building,  and  named  it 

"  HISTKIONIC   HALL." 

It  was  capable  of  holding  and  seating  about  300  per- 
sons. The  stage  and  meeting-room  were  commodious,  and 
the  audience  apartment  was  neatly  fitted  up. 

The  thirty-sixth  representation,  and  the  first  in  Histri- 
onic Hall,  took  place  October  30, 1834,  and  the  pieces  per- 
formed were  "Man  and  Wife,"  and  "Love,  Law  and  Physic." 

Previous  to  the  performance,  an  address,  written  for 
the  occasion  by  Charles  Woodhouse,  was  delivered  by  the 
President  of  the  Association,  Arthur  C.  Southwick,  and 
we  think  no  apology  is  necessary  for  its  introduction  here. 

ADDRESS. 
Ladies  and  Gentlemen  : — 

'Tis  said  that  Fashiou  rules  this  world  of  out's  ; 
And  true  it  is.  we  own  and  feel  her  powers, — 
Her  sway  resistless  by  this  act  confess, 
In  presentation  of  this  night's  address. 
How  like  a  dream  this  scene  to-night  appears  ? 
And  is  it  true,  'midst  doubt,  and  hopes,  and  fears, 
A  new  and  better  house  we  now  behold 
Upspruug,  as  by  euchantuient,— while  our  old 


136  Theatrical  Eemixiscences. 

Xo  more  will  tell  the  Drama's  grief  aucl  mirth, 

But  give  that  boon  to  this,  whose  recent  birth 

We  hail  this  night  with  pleasure  undetinecl, 

Flowing  from  our  every  joyful,  grateful  mind. 

In  ancient  Greece  the  Drama  claims  her  birth : — 

A  sacred  clime,  renowned  'bove  all  the  Earth 

For  Science,  Art,  and  Eloquence,  which  tells 

To  present  time  its  spirit -moving  spells. 

Here,  on  this  soil,  where  the  Historic  pen 

Has  wrote  her  epitaph  of  noble  men, 

TFhere  deeds  of  time  are  writ  with  impress  deep 

On  tables,  their  eternal  fame  to  keep ; 

Here  sprang  the  Drama — here  life's  mimic  scene 

First  taught  as  Truths  from  Fancy's  field  to  glean  ; 

"While,  like  a  glass,  reflecting  e'en  the  hearts 

Of  men,  the  Muses  played  their  magic  parts  ; 

Portrayed  the  Passions  of  the  human  soul ; 

Taught  us  the  good  to  cherish,  aud  control 

The  bad ; — placed  Virtue  in  her  own  bright  view, 

Aud  painted  Vice  in  every  hideous  hue  ! 

And  thus  the  Stage,  if  kept  in  morals  pure, 

(A  mctving  world  in  moviug  miniature !) 

Still  holds  a  miiTor,  in  which  all  may  gaze, 

And  learn  a  lesson  to  direct  their  ways  ; 

And  while  we  see  fair  Virtue's  cause  defended, 

Find  the  amusing  with  the  useful  blended. 

In  this  a  helping  hand  Ave  lend  ;  and  here 

The  Drama's  friends  this  humble  Temple  rear. 

Here  shall  the  Truth  exhibit  all  her  charms. 

And  to  black  Falsehood  sound  her  dread  alarms; 

Here  shall  be  cherished  all  that  tends  to  raise 

The  mind  to  soar  ah)ft  on  Poesy's  lays; 

The  moralist  glean  ethics  for  the  young, 

Clothed  in  poetic  dress,  by  Fancy  sung ; 

And  now  spectators,  in  your  smiles  so  bright, 

"We  cheerfully  ])egin  this  work  to-night; 

And  Iho'  we  hold  in  the  Dramatic  cause 

An  humljle  station,  yet,  with  your  applause, 

We  may  our  fetible  aid  lend  with  success. 

In  ^howing  Life  in  its  most  simple  dress  ; 

That  all  may  see  themselves  reflected  true 

To  the  image  Justice  gives  of  us  and  you  : 

And  thus  transmit  to  the  remotest  age, 

A  pure  aud  useful  Histriouic  Stage  ! 


Theatrical  Reminiscences.  137 

The  performances  Avere  usually  interspersed  with  a 
variety  of  songs  and  recitations. 

The  young  gentlemen,  representing  the  female  charac- 
ters, were  generally  of  the  most  delicate  form,  but  it  Avas 
the  fortune  of  the  tall  and  powerful  Cornelius  Wendell,  at 
one  time,  to  be  cast  in  the  character  of  "  Destafena,"  in 
"  Bombastes  Furioso,"  which  part  he  performed  to  a  de- 
lighted audience,  and  with  great  satisfaction. 

LIST   OF   MEMBERS,   ETC. 

The  association  occupied  this  hall  for  eight  years,  mak- 
ing in  all  fifteen  years  of  its  existence,  with  great  success, 
until  the  representations  numbered  one  hundred.  The 
following  names  were  added  to  the  list  of  members  from 
time  to  time :  Joseph  Vance,  John  Q.  Graham,  John 
Thomas,  Henry  Russell,  John  Jarvis,  Charles  J.  Gowie, 
Andrew  Comike,  James  A.  McDougal,  John  Parker, 
Robert  Allison,  0.  0.  Coleburn,  Philip  S.  Van  Ingen,  John 
Brooks,  Benj.  Stokey,  George  Gladding,  Thos.  N.  Rooker, 
John  Van  Heusen,  Joseph  C.  Mayer,  Thomas  Peacock, 
"Walter  Strong,  Robert  Austin,  James  AV.  McKee,  Henry 
Gardner,  John  W.  Bell,  William  Harbison,  Thomas  R. 
Courtney,  Francis  D.  Briare,  Thomas  Hoyt,  Hugla  J.  Hast- 
ings, A.  W.  Mayer,  Solomon  Hosford,  Peter  A.  Bailey, 
Edward  Duffy,  J,  H.  Johnson,  James  Cafferty,  William 
Cafferty,  Benj.  M.  Briare,  Alphonso  Walker,  J.  J.  Galusha, 
Stephen  B.  Hutchins,  AV.  P.  Thatcher,  Lewis  A.  Gregory, 
John  S.  Knapp,  Gilbert  Brown,  Andrew  B.  Cross,  George 
Turner,  J.  Lockwood,  George  AA\  Porter,  Owen  Hanks, 
Henry  D.  Stone,  E.  Henly,  Hale  Kingsley,  William  R. 
AA'hitney,  Stephen  AA^.  AA^hitney,  AA'illiam  D.  Mahoney, 
Lorenzo  Downing,  AA^illiam  H.  Low,  Benjamin  F.  Smitli, 
J.  M.  Jaquith  and  H.  C.  Haskell. 

The  list  of  members  and  the  casts  of  the  representations, 
during  the  last  four  or  five  years  of  the  existence  of  the 
association,  have  been  lost,  and  we  have,  undoubtedly, 
omitted  the  names  of  some  who  were  in  at  its  death. 


138  Theatrical  Eeminiscences. 

The  troubles,  which  finally  caused  the  dissolution  of 
the  association,  had  their  origin  in  the  "  religious  revivals  " 
of  the  period  of  1843  and  1843  Many  of  its  members  be- 
came "convicted,"  and  some  "converted."  It  was  with 
difficulty  that  a  quorum  could  be  obtained  at  its  meetings. 

Theatricals  were  tabooed  for  the  time,  the  finest  repre- 
sentations failed  to  "  fill  the  house,"  while  the  performances 
of  "  Brotlier  Knapp "  and  others,  in  other  auditoriums, 
outrivaled  and  outdid  all  the  attractions  of  the  most 
celebrated  tragedians.  Tragedy,  comedy,  farce,  burlesque, 
song  and  recitation,  all  failed  to  "  draw  the  crowd  I"  Many 
of  its  first  members  had  died,  or  were  immersed  in  the 
struggles  and  cares  of  business.  The  religious  portion  of 
community  made  a  "dead  set"  at  the  Association,  and  it 
was  no  longer  considered  "the  thing"  to  attend  its  rep- 
resentations. Its  treasury  became  depleted,  and  dissolu- 
tion was  painfully  apparent  to  the  few  members  who  still 
clung  to  its  waning  fortunes.  They  determined  that  its 
"exit"  should  be  at  least  "  decently  and  in  order."  Its 
property  was  sold,  its  debts  were  paid,  and  the  Association 
dissolved.  We  have  no  data  from  which  to  learn  the  exact 
time  of  its  breaking  up,  or  even  the  cast  of  the  last  repre- 
sentation.   It  must  have  been  somewhere  about  1844. 

Among  some  of  its  last  representations  was  "'  London 
Assurance."  Many  old  players,  Avho  witnessed  it,  declared 
that  it  equaled,  if  not  excelled,  the  performance  of  the 
same  play  at  the  New  York  Park  Theatre.  The  stage, 
particularly  in  the  garden  scene,  was  most  beautifully  set. 
Among  the  cast,  we  recollect 

Sir  Harcourt  Courtly Walter  Strong. 

Charles  Courtly S.W.  Whitney. 

Dazzle C.  Wendell. 

Max  Ilarkaway L.  Downing. 

Dolly  Spanker B.  M.  Briare. 

Cool H.  J.  Hastings. 

Lady  Gay  Spanker W.  il.  Low. 

Grace  Ilarkuway , Uale  Xiugsluy. 


Theatrical  Keminiscences.  139 

And  such  a  Dazzle  as  was  tlie  lamented  Wendell. 

The  Histrionic  Association  is  among  the  things  of  the 
past;  nothing  of  it  remains  except  its  memories.  "Who, 
of  all  those  who  "  strutted  their  brief  hour  "  on  its  stage, 
would,  if  they  could,  blot  out  one  single  memory.  How 
varied  and  checkered  have  been  the  lives  of  those  Avho 
have  been  its  members.  The  dark  curtain  of  death  has 
been  rung  down  upon  many  who  will  be  remembered 
and  loved  by  those  who  survive.  On  the  dim  distant  shores 
of  the  past  are  strewn  some  wrecks,  which,  Avith  swelling 
sails  and  summer  skies,  sailed  out  of  the  harbor  of  youth 
upon  the  unknown  waters  of  life.  Some  survive  in  our 
midst,  honored  and  respected  citizens,  but  the  greater 
number  is  scattered  and  gone.     But  alas  I  such  is  life. 

"  All  the  world's  a  stage, 
And  all  the  men  and  women  merely  players. 
They  have  their  entrances  and  their  exits, 
And  one  man  in  his  time  plays  many  parts." 


GENERAL  THEATRICAL  REMINISCENCES, 

Embracing  Sketches  of  Actors,  Actresses,  Musicians,  Eques- 
trians, WITH  Incidents,  Scenes  and  Anecdotes  connected 
therewith — Amusing  as  well  as  Thrilling  Events  Gener- 
ally—History  OF  Theatres.  Amphitheatres,  Circuses- 
Wonderful  Gagging  Exploits  of  Dummy  Allen,  Forrest's 
old  Costumer— Old  King  Charley,  of  Pinkster  Hill  Mem- 
ory— First  Out-door  Circus  ever  Exhibited  in  Albany 
WITHOUT  A  Canvass— together  with  Sketches  of  Scenes 
and  Incidents  not  connected  with  Theatres  or  Circuses. 


CHAPTER  XXVI. 


A  large  portion  of  these  Reminiscences  were  furnished 
by  Mr.  Geokge  Stone,  a  native  of  Albany,  who  began  his 
professional  life  at  the  North  Pearl  Street  Amphitheatre, 
under  the  management  of  Samuel  Parsons.  Mr.  Stone 
afterwards  visited  all  the  principal  cities  and  towns  of  the 
United  States  and  the  Canadas  in  a  professional  capacity, 
and  made  the  tour  of  England,  Ireland  and  Scotland. 
This  afforded  him  ample  opportunities  of  becoming 
personally  familiar  with  the  innumerable  persons,  scenes 
and  incidents  so  graphically  described.  He  was  a 
comedian,  possessing  rare  dramatic  talent,  with  great 
versatility,  and  Avas  very  popular  in  the  south  and 
west.  "  His  memory,"  as  Mr.  Forrest  often  remarked, 
"was  the  most  remarkable  I  ever  knew."  Any  scene, 
face  or  incident  he  saw  was  so  fully  and  indelibly  photo- 
graphed upon  his  memory,  as  to  be  seldom  forgotten. 
The  friendship  existing  between  Mr.  Forrest  and  George 


142        General  Theatrical  Reminiscences. 

Stone — like  our  own — was  of  the  warmest  and  most 
devoted  character  —  not  a  link  in  its  lengthy  chain 
ever  having  been  severed.  Mr.  Forrest  and  Mr.  Stone 
commenced  tlieir  dramatic  career  about  the  same  period, 
though  Mr.  Forrest  was  the  senior  by  several  years.  Mr. 
Stone  retired  from  the  profession  some  years  since,  em- 
barking in  the  commercial  business  in  Pliiludelphia,  where 
he  died,  December  18,  1864,  in  the  53d  year  of  his  age. 
"We  woukl  here  state,  that  although  Mr.  George  Stone 
furnished  the  Milk  of  the  Eemiuiscences  under  tins  head, 
the  author,  from  time  to  time,  supplemented  them  with 
numerous  local  incidents  and  anecdotes  coming  within  his 
personal  knowledge  and  observation.  The  principal  por- 
tion of  the  Reminiscences  were  written  in  1864-5.  Many 
changes  have  naturally  taken  place  in  the  interim — many 
of  the  individuals  spoken  of  have  "  shuffled  off  this  mortal 
coil" — but  it  has  been  concluded  to  give  them  as  nearly 
in  their  entirety  as  possible,  believing  this  plan  most  ac- 
ceptable to  the  reader. 

Miss  Robertson. 

In  speaking  of  the  unsurpassed  dramatic  company  at- 
tached to  tlie  old  Pearl  Street  Theatre  at  its  opening,  it 
does  not  seem  Avorth  while  to  again  enumerate  the  roll 
of  distinguished  artists  comprising  this  company.  Of 
Miss  Robertson,  however,  I  cannot  refrain  from  mak- 
ing special  mention,  her  dramatic  life  being  somewhat 
ovenHul.  Siie  was  a  beautiful  woman,  and  one  of  the  best 
actresses  in  her  line  (chambermaid)  either  hemisphere 
ever  [)roduced.  She  married  Burroughs,  once  manager  of 
the  South  Pearl  Street  Theatre  ;  a  si)iendid  looking  fellow, 
an  excellent  melo-dramatic  actor  and  a  most  eflicient 
manager.  She  accompanied  him  to  England,  and  a  few 
years  since  married  a  stage  carpenter  at  Liverpool  and  went 
to  Autitnilia.     Mi.^s  Robertson  was  sister  to  Matilda  Brun- 


General  Theatrical  Keminiscences.       143 

dage,  wife  of  the  mad  poet,  McDonald  Clark.  Clark  and 
wife  were  separated  in  ten  minutes  after  marriage,  a  divorce 
following  shortly.  Mrs.  Clark  was  very  beautiful,  young, 
and  highly  accomplished.  Miss  Robertson  died  in  Aus- 
tralia. 

Anderson,  the  Tragedian. 

This  actor  is  believed  to  be  living  in  St.  Louis  at  a  very 
advanced  age.  Anderson  became  engaged  in  a  Avrangle 
with  a  gentleman  one  night,  at  Preston's  City  Coffee  House, 
which  stood  where  the  Delavan  now  stands,  Anderson 
shooting  him.  He  Avas  tried  and  acquitted.  Many  of 
our  citizens,  especially  the  old  theatre-goers,  will  doubt- 
less recollect  Anderson  as  a  leading  member  of  Gilfert's 
unequaled  company  in  the  palmy  days  of  the  South  Pearl 
Street  Theatre.  In  June,  1864,  a  friend  Avrote  us  from  Phil- 
adelphia that  poor  Anderson — then  seventy-six  years  old — 
Avas  an  inmate  of  the  alms-house  in  that  city.  Anderson 
is  probably  the  only  surviving  member  of  the  original  stock 
company  of  that  theatre.  He  was  an  accomplished  gen- 
tleman, a  finished  actor,  and  a  great  favorite.  He  was  a 
worthy  member  of  the  American  Dramatic  Pund,  and  yet 
he  is  allowed  to  pass  his  declining  days  in  an  alms-house ! 
Shame  that  poor  Anderson  should  "to  this  complexion 
come  at  last ! " 

George  Hyatt  died  at  sea,  on  board  a  whaler.  He  was 
the  author  of  the  ever  popular  song,  The  Melloio  Horn  ; 
but  numerous  mellow  horus  sent  poor  Hyatt  on  a  long  en- 
gagement with  Davy  Jones.  He  Avas  decidedly  one  of  the 
most  finished,  accomplished  and  popular  low  comedians 
that  ever  graced  the  stage. 

Of  William  Daffy's  and  William  Forrest's  company 
(William  Avas  a  brother  of  EdAvin  Forrest)  of  the  Pearl 
Street  Circus — the  spot  being  noAV  occupied  by  the  Me- 
thodist church  —  but  fi'W  remain  this  side  of  the  tomb. 


144        General  Theatrical  Reminiscences. 

Jack  Green  and  his  wife  are  dead.  Lewy  Underner,  then 
quite  a  younf?  man,  was  attached  to  Duffy  and  Forrest's 
orchestra.  James  Wallace,  one  of  the  company,  and 
formerly  editor  of  The  Sun,  Philadelphia,  is  now  assis- 
tant editor  of  a  Louisville  paper.  He  married  Miss 
Godey,  the  sister  of  Charles  Durang,  a  sprightly  and 
beautiful  little  actress  of  Duffy  &  Forrest's  company,  and 
after,  for  many  years  of  the  Park  Theatre,  New  York.  She 
is  now  dead. 

Thayer,  a  light  comedian,  and  one  of  the  very  best  at- 
tached to  Burrough's  company,  and  his  wife  (formerly  Miss 
Fisher),  are  now  playing  at  the  Walnut  Street  Theatre, 
Philadelphia.  Thayer  was  thin  and  slim,  and  an  especial 
favorite  in  Albany;  now  he  is  jolly  fat,  and  considerably 
over  60,  doing  old  men  admirably.  Mrs.  Thayer  is  one 
of  the  very  best  old  women  on  the  stage.  Dave  Eberlee, 
brother  to  the  low  comedian,  Henry  Eberlee,  is  also  at  the 
Walnut.  He  was  at  the  Pearl  Street  Theatre  under  Bur- 
roughs. 

Johnny  Cook,  Avho  yet  lives,  was  a  musician  in  that  es- 
tablishment— his  wife  being  an  actress  and  vocalist  of  a  very 
pleasing  and  versatile  character.  Charley  Taylor,  now  the 
veteran  author,  having  retired  upon  the  Dramatic  Fund,  is 
living  in  New  York.  Charley  did  the  vocal  business  and 
juvenile  lovers  in  those  days  ;  he  Avas  young  and  gay  with 
locks  of  the  raven's  hue.  There  was  also  an  actor  at  the 
old  circus  by  the  name  of  Henry,  quite  a  genius  in  his  way 
— a  Yankee  speculator,  an  Englishman  by  birth.  He  had 
been  cajjtain  of  a  canal  boat — preached  sometimes — invent- 
ed a  soaj)  that  would  extract,  he  said,  grease  from  an  old 
hIioc,  i)layed  the  fiddle,  made  theatrical  dresses,  kept  school, 
and  linally  turned  actor.  Some  years  since,  stopping  at  a 
hotel  in  England,  I  noticed  in  the  bar-room  a  number 
of  travelers,  and  among  them  was  this  Henry.  He  had 
been  managing  a  theatre,  but  had  busted  —  all  his  earthly 
belongings  were  in  a  pasteboard  bandbox  !     "  But,"  said 


General  Theatrical  Reminiscences.       145 

he,  "  I  liave  something  that  will  yet  make  my  fortune." 
It  was  a  theatre  on  wheels,  composed  of  cloth,  and  quite 
light,  and  intended  to  be  drawn  by  the  actors.  Whether 
the  poor  fellow  ever  got  the  actors  to  draw  the  show,  I 
did  not  learn,  but  I  presume  that  they  (like  the  manager) 
never  draived. 

Hunter,  the  G-reat  Bare-Back  Rider. 

Mr.  Hunter  was  the  great  bare-back  rider  of  the  Pearl 
Street  Circus.  He  left  the  States  in  1829  for  England, 
and  became  dissipated.  He  imiocently  took  Ben.  Stick- 
ney's  coat  from  the  dressing-room  of  the  Eoyal  Amphithea- 
tre, Liverpool,  one  night.  Ben.,  to  frighten  him,  had  Hun- 
ter arrested,  and  was  obliged  to  appear  against  him.  John 
Bull's  law  being  equal  to  Jersey,  poor  Hunter  was  trans- 
ported to  Van  Dieman's  Land  in  1839.  It  is  said  he  has 
a  wife  and  son  in  Philadelphia  very  respectably  connected. 

There  was  an  actor  by  the  name  of  Eussell  attached  to 
the  Pearl  Street  Circus.  I  saw  him  several  years  ago  play- 
ing Eichard  in  Arkansas,  in  a  porTc-lioum  converted  into 
a  theatre,  and  the  way  he  battered  old  King  Dick  was 
never  equaled  by  the  little  Greek,  John  Amiraille,  who 
used  to  do  scenes  from  Eichard  in  George  Watson's  barber 
shop  in  I^orth  Market  street.  But  the  Greek  was  decid- 
edly the  best  actor  of  the  two,  especially  in  the  dying  scene. 
John  Amiraille  came  to  this  city  from  Boston,  became 
dissipated,  and  fell  into  the  hands  of  Watson,  who  main- 
tained him  as  a  })utt  for  his  customers.  He  Avent  upon 
the  stage  to  burlesque  Eichard  III,  and  his  biography  was 
Avritten  by  John  B.  Southwick,  the  Greek  soliciting  the 
subscription  himself.  Most  of  the  edition  was  destroyed. 
The  Greek  died  in  the  New  York  alms-house. 

Albany  at  that  time  could  boast  of  one  of  the  most  pow- 
erful dramatic  companies  that  ever  graced  the  boards  of 
any  theatre  in  either  hemisphere. 
10 


CHAPTER  XXVII. 

George  Barrett,  I  presume,  had  no  superior  as  a  light 
comedian,  in  the  world ;  and  his  wife,  too,  was  a  chaste, 
accomplished  actress.  Her  maiden  name  was  Henry.  She 
was  a  native  of  Boston,  and  said  to  have  been  the  hand- 
somest and  most  fascinating  belle  in  that  city.  Mrs.  Bar- 
rett was  enacting  the  Bavarian  Girl  one  evening  at  the 
Pearl  Street  Theatre,  and  while  singing  the  broom  song 
approached  her  husband,  saying — "  Buy  a  broom  ?  Buy  a 
little  one  for  the  baby  ?  "  "'  Lord  bless  you,"  says  Barrett, 
"I  haven't  got  any  babies ;  I  wish  I  had,  and  you  was  the 
mother  of  them  I "  They  were  childless.  She  died  in 
Boston.  Miss  Tilden,  also,  of  Gilfert's  company,  was  an 
enchanting  actress,  and  a  most  amiable  and  accomplished 
lady.  Miss  Grey  was  a  sweet  vocalist,  a  beautiful  and 
exemplary  woman,  and  a  great  favorite.  Mrs.  Gilfert,  as 
a  tragic  actress,  had  few  equals.  She  was  very  highly  ac- 
complished, exceedingly  modest  and  retiring,  and  her 
society  was  much  sought  by  the  best  class  of  our  citizens. 
After  Gilfert's  death  she  opened  a  school  in  New  York 
for  Ihe  instruction  of  young  ladies  in  music,  drawing  and 
otluT  branches  of  polite  education. 

There  are  but  few  of  that  bright  galaxy  of  artists 
who  graced  the  boards  of  the  South  Pearl  Street  Theatre 
h'ft — gone,  gone  to  the  tomb.  The  same  may  be  said  of 
Duffy  and  Forrest's  company,  Bnrrough's  and  Dinneford 
anil  Blake's,  who  succeeded  Gilfert. 


General  Theatrical  Reminiscences.        147 

In  relation  to  Edwin  Forrest,  then  one  of  Gilfert's  stock 
companj^,  I  well  remember  when  he  came  to  this  city 
from  the  sonthern  or  southwestern  theatres,  (though  a 
native  of  Philadelphia)  and  made  his  debut  in  the  South 
Pearl  Street  Theatre — then  a  young  man,  I  should  think 
not  over  21  years  old.  He  was  rather  a  wild  fellow ; 
Avhat  is  modernly  termed  a  fast  young  man,  fond  of  fun, 
and  a  good  lark  now  and  then  without  especial  regard  to 
the  expense ;  but  he  at  once  became  a  favorite  with  all 
classes,  both  on  and  oflf  the  stage,  but  particularly  the 
younger  portion  of  theatre-goers.  He  was  counted  a  good 
melo-dramatic  actor  by  some,  and  tip-top  in  anything  by 
others. 

Forrest's  Physical  Powers. 

As  an  evidence  of  the  wonderful  strength  of  Forrest,  I 
will  state  a  little  incident  that  occurred  while  he  was  play- 
ing a  star  engagement  at  the  Pearl  Street  Theatre.  The 
play  was  The  Gladiator.  Old  Dummy  Allen,  his  cos- 
tumer,  was  assigned  the  part  of  one  of  the  principal 
gladiators — a  very  important  part — as  Spartacus  (Forrest) 
has  a  long  and  severe  combat  with  him.  Just  as  the 
scene  in  the  arena  Avas  to  commence,  a  constable  by  the 
name  of  diet.  Moore  entered  Avitli  a  Avarrant  against 
Allen,  for  an  old  score  he  had  run  upon  some  former  visit 
to  Albany,  diet,  deeming  that  a  good  time  to  collect  the 
amount,  arrested  Allen,  Avithout  intimating  to  Forrest 
the  object  of  his  visit.  Foi'rest  being  informed  of  the  fix 
Allen  Avas  in,  grabbed  Moore,  who  Avas  a  poAA'erfully  built 
man  Aveighing  over  200  pounds,  and  hurled  him  several 
feet  away  against  the  scenes,  retaining  in  his  grasp  good 
sized  pieces  of  Chet.'s  coat,  vest  and  shirt.  Forrest  gave 
his  Avord  that  all  things  should  be  made  right  and  the 
performance  AA^ent  on  as  though  nothing  had  happened. 
Chet.  was  asked  the  next  day — the  affair  having  leaked  out 


148        General  Theatrical  Kemlxiscexces. 

— what  he  thought  of  Forrest's  grip.  "  What  do  I  think 
of  it,"  replied  Chet.,  ''why,  he's  a  perfect  corn  cracker, 
and  ought  to  get  ont  a  patent  foj:  his  machine  I" 

Forrest  in  Acrobatic  Feats. 

It  has  been  doubted  by  some  if  Forrest  ever  performed 
feats  of  agilitv  in  the  circus,  but  there  is  no  mistake  about 
it.  He  performed  in  the  North  Pearl  Street  Amphithea- 
tre for  Bill  Gates'  benefit,  on  a  Avager  (he  was  at  the  time 
attached  to  the  South  Pearl  Streei  Theatre,  then  nnder 
the  management  of  Gilfert),  in  a  still  vaulting  act,  creat- 
ing shouts  of  laughter  and  applause  from  those  present 
Avho  knew  it  was  Xed.  The  dress  he  wore  on  that  occa- 
sion was  from  the  wardrobe  of  the  establishment,  and  con- 
sisted of  an  enormous  pair  of  Turkish  trousers,  breast- 
plate and  fly — his  feet  were  adorned  with  a  pair  of 
sheep-skin  pumps — the  kind  worn  by  a  numerous  train  of 
auxiliaries.  But  few  knew  him,  and  much  fun  was  in 
vogue  at  Ned's  expense.  For  Charley  Young's  benefit,  he 
also  made  a  flying  leap  through  a  ban-el  of  red  fire,  singe- 
ing his  eyebrows  all  olfl  This  was  his  last  "big  leap" 
in  the  show  business.  Major  Jacob  Fredenrich  is  sup- 
posed to  have  been  the  person  who  held  the  stakes  (810) 
which  was  bet  that  Forrest  dare  not  turn  a  sommersault 
at  Bill  Gates'  benefit.  Sol.  Smith,  in  his  Reminiscences, 
says  he  saw  Forrest  with  a  show  in  Kentucky.  "Ned  was 
performing  flip-flaps  at  the  rate  of  340  per  minute,  and 
the  way  he  kicked  the  dust  was  a  caution  to  owls  I"  For- 
rest played  for  OI)e.  Woodhull's  benefit  at  the  Park  Thea- 
tre before  hr  i)layed  atGilfert's  Bowery  Theatre.  Forrest, 
in  a  letter  dated  Albany,  January,  182G,  says:  "  To-mor- 
row night  I  do  TiuKuir  for  the  first  time..  0,  temporal 
().  mores!"  This  was  in  Gilfert's  company.  Bob  Laidly 
was  then  playing  the  same  part  at  the  North  Pearl  Street 
Circus.     A  letter  iVom  Forrest,  dated  "Washington,  October 


General  Theatrical  Keminiscences.         149 

14,  1826,  says :  "  I  play  Damon  for  the  first  time  to-mor- 
row night."  He  says  in  the  same  letter:  "  I  Avas  detained 
and  did  not  reach  Washington  in  time.  Charley  Webb 
appeared  as  my  sub,  and  played  Rolla  exceedingly  well." 
In  another  letter  he  says:  "Albany  is  not  the  sphere  for 
me !  I  shall  play  with  Keau."  Forrest  was  a  great  ad- 
mirer of  Kean. 

The  First  Circus  in  Albany. 

As  far  as  can  be  ascertained,  the  first  circus  that  ever 
visited  Albany  performed  on  the  open  lot  near  where  Fort 
Orange  formerly  stood,  now  the  steamboat  landing.  The 
riders  were  Mr.  and  Mrs.  Stewart,  from  England.  They 
had  no  canvas — nothing  but  stakes  and  ropes  to  form  a 
rinff  for  the  riders.  Collections  were  taken  up  bv  the 
clown  among  the  audience  outside  the  ring.  Mrs.  Stewart 
was  a  fearless,  graceful  rider. 

Rickets'  English  Circus,  after  having  been  burnt  out  at 
the  corner  of  Fifth  and  Chestnnt  streets,  Philadelphia,  in 
1795,  proceeded  north,  performing  in  New  York  and  Al- 
bany, and  returning  thence  to  England.  West's  company 
performed  at  Albany  in  18'20,  in  the  Colonic,  back  of  a 
stonecutter's  yard.  West  was  from  England,  and  had  one 
of  the  most  magnificent  stud  of  horses  ever  seen  on  this 
side  of  the  Atlantic.  His  company  performed  several  sea- 
sons at  the  Broadway  Circus.  They  first  produced  Timour 
the  Tartar,  Cataract  of  the  Ganges,  Blue  Beard,  &c.  West 
sold  out  to  Price  &  Simpson,  of  the  old  Park  Theatre,  and 
returned  to  England  wealthy.  He  is  still  living  at  York 
Cottage,  in  Yorkshire.  Levi  North  married  his  daughter 
in  England  some  years  ago. 

Price  &  Simpson,  and  other  Circuses. 
The  palmy  days  of  the  Price  &  Simpson  Circus  began 
to  decline  in  1826.     The  animals  all  perished  in  a  gale  of 


150        Gexer^vl  Theatrical  Keminiscexces. 


five  days'  duration,  on  board  the  ship  Orbit,  while  going 
around  by  sea  to  Charleston  from  Baltimore.  A  beautiful 
animal  (Fanny  More)  was  alone  saved  of  the  entire  stud. 
It  was  described  as  a  terrible  scene — the  poor  ani- 
mals followed  in  the  wake  of  the  vessel  until  they  disap- 
peared, one  after  another,  beneath  the  waves.  After  this 
disaster  circuses  seemed  to  have  died  oiit  for  a  time. 

Pepin  Burchard,  with  a  French  circus  from  Spain,  landed 
in  Boston  in  180G.  They  performed  in  conjunction  with 
West  at  Philadelphia.  Pepin  built  the  ^Yalnut  Street 
Theatre.  One  of  his  riders  (Burt)  is  still  living  in  Phila- 
delphia. Pepin  was  an  officer  iu  the  cavalry  of  France, 
and  had  a  thorough  military  education.  He  was  one  of 
the  most  graceful  horsemen  of  the  time  and  the  Beau 
Xash  of  that  day.  Pepin  was  born  iu  Albany,  at  the  cor- 
ner of  Xorth  Market  street  and  the  Colonic.  His  parents 
were  French,  and  left  Albany  for  Paris  when  Pepin  was 
two  years  of  age.  I  received  the  above  account  of  him  at 
New  Orleans. 

Laison  had  a  circus,  in  opposition  to  Rickets",  at  the 
corner  of  Fifth  and  Prune  streets,  Philadelphia,  in  1T96, 
and  it  was  an  extensive  establishment.  Tlie  pantomime 
and  riding  troupe  were  all  Frenchmen.  They  embarked 
for  the  West  Indies,  and  were  never  heard  of  afterwards, 
Avhile  their  building  fell  down  under  the  great  weight  of 
snow  on  the  roof,  just  as  a  company  of  soldiers  left  it,  it 
being  used  as  a  })lace  to  drill  in.  There  was  a  rumor  that 
the  higliwayman  tluit  attacked  the  inn  kept  by  Mrs.  Pye, 
between  Albany  and  Troy,  many  years  ago,  was  one  of 
Pepin's  horsemen.  He  was  a  soutlierner,  and  made  a 
Mazoppa  leap  on  his  fleet  mare  from  the  quay.  After 
a  long  chase  at  Greenbusii  he  was  shot,  it  is  said,  by 
Billy  Winne.  The  highwayman  died  in  Albany  jail  of 
the  wounds. 

There  was  a  circus  on  the  hill  in  Albany,  just  above  the 
jail  in  State  street,  corner  of  Eagle  street.     Parsons  was 


General  Theatrical  Reminiscences.        151 

proprietor — this  was  before  he  opened  the  Pearl  street 
show  in  1826.  It  was  on  this  spot  that  Joe  Martin  ex- 
hibited his  wild  beasts.  Tippo  Sultan,  the  great  elephant, 
Avas  the  star,  being  the  second  elephant  ever  seen  in  Amer- 
ica. Tippo  saved  Joe's  life  in  the  Bowery,  JS'ew  York,  in 
1823,  under  the  following  circumstances :  Two  tigers  had 
got  loose  fi'om  their  cages  in  the  absence  of  their 
keepers.  Martin  came  into  tlie  caravan  at  this  mo- 
ment, to  find  one  of  the  tigers  had  torn  the  lama  to  pieces, 
and  was  feeding  on  it.  The  other  tiger  had  attacked 
the  lion,  the  lion  holding  the  tiger  in  '"chayicery" 
The  tiger  that  was  feeding  upon  the  lama  then  made  at 
Joe — Joe  had  a  cane  in  his  hand,  and  kept  the  tiger  at  bay 
till  he  got  to  Tippo,  who,  quick  as  thought,  with  his 
trunk  placed  Joe  on  his  back  in  safety.  Tippo  threw 
the  tiger  Avith  great  violence  to  the  roof  of  the  build- 
ing; the  alarm  was  given  and  the  animals  secured.  It 
was  a  most  miraculous  escape  for  Joe.  This  circus  con- 
sisted of  John  Stickney  and  wife,  Bill  Gates,  clown  (many 
years  low  comedian  at  the  Bowery  Theatre),  Jim  Wester- 
velt,  rider  (died  from  the  effects  of  a  fall  from  his  horse  at 
Syracuse),  Mat  De  Garmo,  son  of  Dr.  De  Garmo,  of  Alba- 
ny, Jake  Burton,  an  Albany  boy  (poor  Jake  died  in  the 
mines  of  Galena),  Ned  Carter,  slack  rope.  The  wonderful 
pony  Billy,  30  inches  high,  was  a  great  curiosity  in  those 
days.  Old  Bill  Jones  was  the  groomsman  of  this  circus, 
and  is,  I  believe,  still  living  in  Albany.  There  was  also 
a  theatrical  entertainment  given  here,  Duffy  played  Ti- 
mour,  the  stage  being  "mother  earth."  The  dressing 
rooms  were  in  the  rear  of  the  old  jail.  Mrs.  Thompson 
played  Zorilda  —  her  charger  flew  up  the  steps  like  a  cat. 
She  sang  comic  songs  and  danced  the  slack  Avire,  and  was 
alive  a  few  years  ago,  the  wife  of  a  strolling  actor  named 
Chip.  Mrs.  Prichard,  formerly  Mrs.  Tatnall,  played 
here.  She  was  an  excellent  actress,  and  married  Ham 
Hassick,  the    son    of   the   celebrated    Dr.    Hassick,   of 


152        General  Theatrical  Reminiscences. 

N^ew  Yoi"k.  I  Imve  a  letter  in  my  possession  from  Mrs.  P., 
written  from  Isew  Orleans.  She  Avrites :  "  I  am  now 
about  to  leave  Ne^y  Orleans  forever,"  and  so  she  did. 
The  steamboat  on  which  she  was  took  fire  on  Red  river, 
and  she  perislied.  She  was  a  beautiful  woman.  She  was 
born  in  Boston,  Pemberton  being  her  maiden  name.  The 
actors  boarded,  at  that  day,  at  Foot's  Inn,  State  street, 
near  the  Capitol. 

Old  Jefferson  gave  a  theatrical  entertainment  in  Har- 
mony hall.  xV  first  class  artist,  he  painted  the  scenes 
himself. 


CHAPTER  XXVIII. 

John  Biven's  Theatre. 

Old  Biveii  had  a  theatrical  company  in  1822-3,  at  the 
Thespian  hotel,  in  Xorth  Pearl  street.  Charley  Webb 
was  the  tras^edian.  Webb  was  found  drowned  in  the  canal 
at  Washinoton,  a  few  years  ago.  He  abandoned  the  stasre 
for  a  short  time,  and  commenced  an  engagement  in  the 
pulpit  —  getting  tired  of  preaching  he  again  joined  the 
l)rofession. 

Mrs.  Meline  was  the  A'ocalist.  Forbes  and  Rufus  W. 
Blake  played  here.  Forbes  had  a  most  remarkable  faculty 
of  turning  ashy  jjale  at  Avill  Avhen  occasions  required. 
I  never  heard  of  any  one  possessing  such  control  over 
the  color  of  his  face.  His  wife,  a  handsome  woman, 
used  to  sing  the  then  new  Coming  thro''  the  Eye,  with 
great  effect.  Forbes,  if  I  remember  rightly,  married  a 
Miss  Eaton,  or  Eston,  whose  parents  resided  in  Fox  (now 
Canal  street),  in  Albany. 

Blanchard's  circus  came  from  Quebec  in  1826,  and  joined 
Parsons'  at  the  Xortli  Pearl  street.  Blanchard  Avas  an 
Englishman.  He  died  at  Louisville,  Ky.,  in  1837,  and  was 
buried  by  the  Masonic  fraternity.  His  son  George  is  still 
living  in  that  city.  Cecelia  Blanchard  broke  her  leg  while 
riding  at  Utica,  in  1828,  and  it  had  to  be  amputated. 
William,  the  bare  back  rider,  died  in  Martinique  (W.  I.)  in 
1831.  Blanchard  opened  the  new  amphitheatre,  Balti- 
more, in  1829,  and  realized  a  fortune,  but  subsequently 
lost  all.  He  opened  the  Chatham  Garden,  New  York,  as 
a  circus,  and  failed.     For  many  years  he  kept  a  small  inn 


154        General  Theatrical  Reminiscences. 

on  the  Bloomingdale  road.  Madame  Blaiichard  is  now  a 
French  cook  in  New  York.  Cecelia  is  still  living  in  New 
York.  The  immortal  Nosey  Phillips,  of  free  lunch  mem- 
ory, was  Blanchard's  riglit  hand  man  at  this  time.  I  hear 
he  is  defunct.  Well,  if  he  is  dead,  he  has^jcri^  one  debt  at 
all  events.     So  peace  to  his  ashes! 

Old  Biven  opened  Vauxhall  Garden,  in  North  Pearl 
street,  in  1826.  Here  ice  cream,  lire  Avorks  and  Doty's  pai  nt- 
injrs  flourislied  for  a  while  and  caved  in.  Franklin  sang 
the  Hunters  of  Kentucky,  a  song  that  was  all  the  go  in 
that  da3%  Le  Febre  balanced  guns  on  one  tooth,  etc.  A 
small  stage  was  erected  in  front  of  a  fountain,  and  on 
those  boards  strutted  the  African  cliampion,  Hewlet.  This 
darkey  was  some  in  Kichard  and  Othello.  On  the  stage  he 
tore  King  Dick  to  flinders,  and  of  a  hot  summer's  night 
the  audience  kept  a  respectful  distance  from  the  foot  liglits 
(penny  dips),  in  consequence  of  the  strong  goat-like  odor 
diffused  over  the  garden.  Shakspeare's  proud  representa- 
tive, as  Hewlet  styled  himself,  was  detected  in  New  York  in 

"  Taking  things  that  wasn't  hizzen, 
Then  aiTested  and  sent  to  prizzen." 

Richard  Riker,  recorder  of  New  York,  gave  Hewlet  a 
star  engagement  at  Bellevue  for  one  year,  with  a  clear 
benefit  at  the  expiration  of  the  time.  After  receiving  sen- 
tence, Hewlet  placed  himself  in  a  theatrical  attitude,  ex- 
claiming, "Lead  me  back  to  my  straw,"  —  "I  have  done 
the  state  some  service."  Riker  replied  by  saying  "  he 
sliould  do  the  state  some  more  good  service."  Old  Hays, 
the  renowned  high  constable,  dropped  the  curtain,  and 
Hewlet  was  led  back  to  his  straw ! 

There  was  a  show  shop  at  the  corner  of  Division  and 
Trrecn  streets.  Theatricals,  circuses,  eStc,  flourished  there 
fur  a  short  time,  in  1823-24.  Old  Vilalave  and  family 
danced  the  rope  here. 


General  Theatrical  Reminiscences.        155 

Parsons'  Amphitheatre. 

The  ampliitheatre  of  Parsons,  in  North  Pearl  street — 
where  the  Methodist  Church  now  stands — was  probably 
one  of  the  most  spacious  and  perfect  in  all  its  appoint- 
ments in  the  Union.  The  ring  and  stage  were  immense. 
The  rear  of  the  building  was  constructed  with  an  opening 
into  a  garden  over  a  hundred  feet  in  depth,  thus  affording 
a  grand  display  in  getting  up  such  spectacles  as  the 
Cataract  of  the  Gaiujes,  Blue  Beard,  the  Siege  of  Mont- 
gatz,  &c.,  with  processions  of  men,  horses  and  elephants, 
that  produced  a  grand  and  truly  imposing  effect. 

The  following  are  the  names  of  some  of  the  dramatic 
company  attached  to  this  establishment :  Messrs,  Kenyon, 
Thompson,  Lamb,  Laidley,  Stevenson,  Henry  Eberlee, 
Somerville,  C.  W.  Taylor,  Logan  (father  of  Eliza  Logan, 
the  celebrated  American  tragedienne,  lately  retired  with  a 
fortune),  Avery,  Roper,  Mrs.  Hatch,  Mrs.  Johnny  Cooke, 
Miss  Eberlee,  Miss  Hatch,  Mrs.  Lamb,  Miss  Robert- 
son, &c. 

The  equestrian  corps  consisted  of  "West,  ring  master, 
Masters  Jake  Burton,  Rockwell,  W.  and  J.  Bancker,  Cala- 
han,  Bill  Gates,  clown  (afterwards  first  low  comedian  at 
the  Bowery  Theatre),  Mrs.  Williams,  equestrienne,  Hunter, 
the  greatest  bare-back  rider  in  the  world,  Stickney,  &c. 
The  Cataract  of  the  Ganges,  and  spectacles  of  the  like 
character,  were  brought  out  here  in  a  style  of  splendor 
probably  nevqj*  equaled.  The  stud  of  horses  was  not  sur- 
passed in  number,  splendor  and  dexterity.  The  celebrated 
horse  White  Surrey  was  one  of  the  most  graceful,  beauti- 
ful, learned  creatures  that  ever  entered  the  ring.  Surrey 
did  the  leading  business  in  tricks,  storming  fortresses, 
dashing  up  cataracts,  and  other  Avonderful  feats.  Many 
will  remember  tlie  Cataract  of  the  Ganges,  and  the  real 
water,  and  the  precipice  up  Avhich  Mrs.  Cooke  rode  through 
the  spray,  upon  that  wonderful  horse.  After  this  business 
came  to  an  end,  Johnny  Cooke  opened  a  garden  on  State 


156        General  Theatrical  Remixiscexces. 

street,  directly  opposite  the  Capitol,  on  the  lot  now  occu- 
pied by  the  residence  of  Mr.  Geo.  S.  Weaver.  He  made  very 
little  money  there,  but  was  of  some  service  to  ngriculture  in 
the  line  of  irrigation,  in  this  way :  He  used  to  exhibit  fire- 
works at  tliis  place,  and  it  was  only  necessary  to  post  up 
his  bills  to  announce  the  fireworks  to  bring  on  a  shower, 
that  generally  terminated  in  settled  rain.  The  clerk  of  the 
weather  apparently  had  a  special  grudge  against  Johnny, 
and  the  Avindows  of  heaven  seemed  to  have  been  situated 
directly  over  his  garden.  Cooke  served  in  the  Mexican  war, 
and  in  the  war  of  the  rebellion,  returning  from  the  latter 
minus  an  arm.  He  still  resides  in  the  city  —  his  Avife 
died  many  years  ago — a  devoted  member  of  the  Methodist 
church.  "We  are  happy  to  state  that  "Captain  Johnny" 
is  in  a  tolerable  state  of  preservation,  considering  the 
many  vicissitudes  through  which  he  has  passed.  He 
can  be  daily  seen  at  the  Adjutant  General's  office,  in  the 
Capitol,  assidiously  attending  to  his  multifarious  duties, 
happy  as  a  lord,  with  a  smile  ever  suffusing  his  benign  and 
venerable  face. 


Joke  about  the  Bears. 

In  one  of  the  spectacular  pieces  brought  out  at  the 
North  Pearl  Street  Ampitheatre,  a  couple  of  bears  were 
introduced,  and  for  lack  of  real  bruins  a  couple  of  bipeds, 
David  Terry,  now  living  in  our  city,  and  iohn  Stanwix, 
brother  of  George  Stanwix,  then  quite  youngsters,  were 
rigged  up  in  bear  skins,  heads,  ears,  tail  and  all.  The 
bears  were  brought  on  the  stage,  the  keeper  having  a  sharp 
instrument,  something  like  a  foil  with  sharp  point,  with 
which  he  "stirred  up  the  animals"  when  occasion  re- 
r|uirfd,  and  as  the  bear  (Stanwix)  did  not  move  as  rapidly 
as  was  desired,  the  keeper  pricked  Stanwix  in  a  tender 
spot;  this  80  stirred  up  his  bearship's  anger  that  he 
jumped  upon  his  feet  at  once,  stripped  off  his  bear's  gear, 


General  Theatrical  Reminiscences.        157 

squared  off,  and  "striking  from  the  shonlder/'  knocked 
the  keeper  off  the  stage  into  the  pit  I  This  little  scene 
not  being  in  the  programme,  naturally  enough  took  bet- 
ter than  anything  offered,  as  was  testified  by  long  and  loud 
shouts  of  laughter  and  applause  I 

Duffy  &  Forrest's  company  are,  I  believe,  nearly  all  dead. 
William  Forrest  was  a  printer.  It  is  a  little  strange  that 
most  of  the  actors  of  the  olden  time,  especially  Americans, 
Avere  printers.  They  bowed  and  strutted  their  "  brief 
hour"  before  the  immortal  Ramage  press  and  then  were 
heard  of  no  more  as  printers.  I  was  one  of  a  theatrical 
company  some  twenty-one  years  ago — the  whole  establish- 
ment was  fully  represented  by  the  craft.  It  was  a 
strolling  troupe,  and  traveled  through  the  interior  of 
Pennsylvania.  Charley  Porter,  the  veteran  actor  (still 
living)  was  a  printer ;  also,  Harry  Henkins,  who  learned 
his  trade  with  the  Harpers.  T.  B.  Johnson,  then  a  novice 
but  not  a  stick,  for  he  has  since  made  a  good  impression. 
Joe  Gilbert,  who  afterwards  married  Mary  Duff,  and  Peter 
Logan,  were  printers.  The  latter  died  on  board  a  steam- 
boat on  the  Ohio  river  a  few  years  ago.  The  ladies  con- 
sisted of  Charlotte  Cushman,  Susan  Cushman  and  Mrs. 
Logan. 

The  death  of  Mr.  Duffy  occurred  at  Albany,  March  12, 
18.38.  William  Forrest  died  in  Philadelphia  in  1834. 
The  last  part  he  played  was  the  ghost  in  a  burlesque  called 
High,  Lo2t',  JacJc  and  the  Game,  in  the  Arch  Street  Thea- 
tre, Philadelphia,  and  exclaimed  (his  last  words),  as  he 
descended  through  the  stage,  "D.  I.  0."' — (damn  me,  I'm 
off).  Forrest  died  suddenly  that  night.  Harry  Quinii 
was  one  of  that  company ;  like  Alec  Simpson,  he  had  lost 
his  memory.  The  last  niglit  he  ever  appeared  on  the  stage 
was  at  the  Arch  Street  Theatre.  His  dress  was  half  off- 
he  stood  bewildered — Joe  Horton  apologized  for  him,  and 
Quinn  was  led  off  the  stage.  He  died  shortly  afterwards 
at  Blakely  Hospital.     Rossiter,  who  played  small  parts, 


158        General  Theatrical  Reminiscences. 

afterwards  ended  his  life  in  deep  tragedy — he  committed 
suicide  in  the  theatre.  Col.  James  Wallace  is  still  living — 
he  was  editor  and  proprietor  of  the  Daily  Sun  for  many- 
years.  He  is  now  assistant  editor  of  one  of  the  Louisville 
papers.  The  colonel  married  the  sister  of  Charles  Durang. 
She  was  formerly  Mrs.  Godey,  a  most  excellent  actress, 
attached  to  the  old  Park  Theatre  for  many  years.  Field- 
ing, of  that  company,  died  in  the  west.  The  last  I  saw 
of  him  was  in  Kentucky.  He  made  a  firm  resolve  to 
abandon  the  profession,  as  times  had  become  desperately 
bad.  Fielding  was  missed — no  person  knew  of  his  where- 
abouts, not  even  his  landlord!  I  chanced  to  be  travelinsr 
through  the  country  one  day,  and  discovered  Fielding- 
hoeing  corn.  It  w^as  a  very  hot  day.  In  his  left  hand  he 
held  a  pocket  umbrella,  in  the  right  his  lioe,  a  three-cor- 
nered Panama  hat  on  his  head,  buff  stage  boots  on  his 
feet,  and  a  pair  of  fashionable  eye-glasses  over  his  nose. 
He  informed  me  that  he  had  got  along  finely  that  dav, 
for  he  had  hoed  /owr  hills!  His  manager  (the  farmer) 
was  a  Methodist  preacher,  and  a  very  humane  man. 

John  Kent  and  his  sisters  were  attached  to  tliis  com- 
pany. Mrs.  Herbert  (Ellen  Kent)  is  the  oldest  of  tlie  sis- 
ters. The  youngest  (Eli/a)  married  little  Harry  Knight, 
a  low  comedian,  at  Quebec.  Knight  had  his  leg  cut  off 
on  the  railroad  between  Baltimore  and  Philadelphia,  in 
1839,  and  died  from  the  effects.  His  widow  married 
George  Mossop — a  divorce  followed,  and  she  married  a 
Mr.  De  Costa,  a  merchant  of  Philadelphia,  and  retired 
from  the  stage.  Mossop  then  married  the  divorced  wife 
of  Harry  Hunt,  the  vocalist.  She  was  once  a  juvenile 
prodigy  (Miss  Lane),  daughter  of  Mrs.  Kinlock,  formerly 
attached  to  the  Albany  Museum  company.  After  Mossop 
died  she  married  John  Drew,  one  of  the  very  best  come- 
dians extant. 


General  Theatrical  Kemlmsckxces.        159 

John  Drew  and  the  Drew  Family. 

John  Drew  was  the  greatest  Irish  comedian  since  Power's 
time.  Mr.  Drew  died  at  his  residence,  in  Philadelphia,  at 
half  past  four  o'clock  Wednesday  afternoon,  May  31, 1862, 
aged  35,  probably  from  disease  of  the  heart.  He  was  born 
in  Dublin,  Ireland,  and  entered  the  British  navy  Avlien  a 
mere  boy.  When  very  young  he  went  upon  the  stage  and 
by  degrees  attained  a  world-wide  reputation  in  Irish  char- 
acters. In  Europe,  America  and  Australia  he  was  equally 
popular.  Only  a  few  years  ago,  after  concluding  a 
splendid  engagement  with  Mr.  Bourcicault  in  England, 
he  returned  to  this  country,  and  completed  an  engage- 
ment of  one  hundred  and  one  nights  at  his  wife's  Arch 
Street  Theatre,  Philadelphia.  In  New  York  Mr.  Drew 
Avas  feted  by  all  the  members  of  his  profession,  and 
he  proposed  to  return  to  England,  to  play  a  starring 
engagement.  "  Man  proposes  and  God  disposes."  Noth- 
ing but  a  lifeless  corpse  was  left  of  John  Drew — 
the  popnlar  actor,  the  polished  gentleman,  the  Ii'ish 
Yorick,  the  fast  friend,  the  good  fellow — except  his 
pleasant  memory.  The  funeral  was  attended  by  a 
vast  concourse  of  persons  of  both  sexes.  He  was  fol- 
lowed to  Glen  wood  Cemetery  by  the  Masonic  fraternit}^ 
the  Actors'  Order  of  Friendship,  citizens,  &c.  Many  of 
-.the  theatrical  profession  from  New  York  were  present. 
Mrs.  Drew  is  a  widow  for  the  third  time.  What  changes 
of  scene  has  this  lady  seen  since  she  bore  the  name  of 
Louisa  Lane,  then  tlie  infant  prodigy  at  the  Park  Theatre, 
and  at  a  later  date  at  the  Pearl  Street  Theatre  in  Albany. 
Mrs.  Drew  continues  to  conduct  the  Arch  Street  Thea- 
tre, as  heretofore.  John  Drew  was  married  in  Albany 
in  1850,  to  Mrs.  Mossop,  formerly  Mrs.  Hunt.  This 
engagement  was  no  doubt  the  luckiest  one  John  ever  made, 
for  on  that  instant,  such  was  the  popularity  of  this  versa- 
tile, charming  and  accomplished  actress,  who,  we  venture 
to  assert  without  fear  of  contradiction,  had  not  then  an 


IGO        General  Theatrical  Reminiscences. 

equal  in  this  or  any  other  country,  he  could  command 
an  engagement  at  any  theatre,  and  it  is  doubtful 
whether  she  now  has  an  equal  as  a  general  actress.  Mrs. 
Drew  was  for  a  long  time  the  '-bright  particular  star"  and 
universal  favorite,  at  Harry  Meech's  Museum, 

John  Proctor,  the  promptor,  well  known  in  Albany,  in 
the  South  Pearl  Street  Theatre,  was  one  of  the  massacred 
at  the  battle  of  Williamsburgh.  He,  as  well  as  his  com- 
jjanions  in  arms,  begged  for  quarters,  but  in  vain.  The 
rebels  fired  eight  bullets  through  the  body  of  poor  Proc- 
tor, and  beat  his  brains  out!  He  Avas  buried  from  his 
residence  in  Philadelphia.  The  Williamsburgh  just  men- 
tioned is  the  place  where  the  first  theatrical  representation 
by  a  regular  company  of  comedies  took  place  in  America. 
This  Avas  Hallam's  company.  The  first  piece  played  Avas 
the  Merchant  of  Venice,  in  1752.  During  the  revolution 
they  occasionally  played  at  Philadelphia,  and  in  Nassau 
street,  New  York. 

The  Drew  family,  Avhich  has  become  Avell  known  to  the 
public  on  account  of  the  talent  possessed  by  its  members, 
and  Avhich  has  been  chiefly  directed  to  the  profession  of 
the  stage,  has  experienced  a  sad  mortality  among  its  male 
members.  Mr.  John  Drew  died  on  tlie  31st  of  May.  His 
brother,  Edward  Drew,  captain  in  Berdan's  regiment  of 
sharpshooters,  was  killed  on  the  22d  of  July  before  Rich- 
mond. Avhile  gallantly  leading  his  men  in  battle.  A  third 
brother,  George  Drew,  died  at  Fortress  Monroe,  of  typhoid 
lever,  incurred  Avliile  on  duty  with  the  Forty-Ninth  Ncav 
York,  on  tlie  17th  of  August.  Of  four  brothers,  the  only 
survivor  and  only  male  representative  of  the  family  is 
Mr.  Frank,  at  this  Avriting  filling  an  engagement  at  the 
St.  Louis  Theatre. 


General  Theatrical  Remixiscexces.         161 

John  G-reen— John  Hamilton. 

John  Green,  who  recently  died  in  Xashville,  Tenu.,  was 
born  in  Phikidelpliia  in  1795,  of  Irisli  parents,  was  a 
printer,  and  learned  his  trade  in  Shippen.  near  Fifth  street. 
Old  Jack  was  one  of  the  pioneer  actors  of  the  west.  His 
personation  of  Irish  characters  coukl  not  he  excelled,  and 
this  was  the  opinion  of  the  critics  of  the  day.  His  wife 
was  a  talented  actress,  and  a  most  amiable  and  accom- 
plished lady.  She  was  subject  to  deafness,  which  annoyed 
her  mucli  on  the  stage  as  she  could  hear  but  very  indis- 
tinctly the  words  of  the  actors.  Mrs.  Green  was  the 
original  Lady  Randolph  to  Forrest's  Young  Norval. 
John  Green  Avas  a  good-hearted  man,  and  was  his 
own  worst  enemy.  He  was  a  member  of  the  American 
Dramatic  Company  for  a  number  of  years.  He  has  a 
daughter  living  in  Philadelphia.  Edwin  Fori'est  and  John 
Green  were  warm  personal  friends  from  earliest  boyhood. 
Tlie  last  I  saw  of  John  Hamilton,  the  assassin,  was 
in  Louisville,  Ky.,  tAventy-three  years  ago.  He  was 
subject  to  fits  of  insanity — during  tlieir  paroxysms  he 
Avould  rave  like  a-  maniac,  his  friends  holding  him 
with  all  their  strength.  He  imagined  the  form  of  his 
victim  was  gazing  upon  him  in  a  supplicating  manner, 
and  fiends,  with  serpents  entwined  around  their  heads, 
were  about  to  convey  him  to  hell  I  Tliese  scenes  were 
truly  horrifying  to  all  persons  present.  Hamilton  mar- 
ried old  Dyke's  daughter,  a  strolling  manager  of  the  west. 
She  was  quite  young,  the  widow  of  an  actor  by  the  name 
of  Robinson.  Hamilton  died  in  one  of  his  ravings,  in  an 
obscure  village  in  Tennessee.  Hamilton  was  also  a  printer, 
and  worked  in  various  offices  in  Albany.  He  would  sub  it 
during  the  day,  and  play  at  the  theatre  at  night.  He  gen- 
erally played  second  old  men,  assisted  in  choruses,  and  was 
what  is  termed  a  general  iitility  man. 

The  following  comprised  Diilfy  &  Forrest's  company,  at 
the  Pearl  Street  Theatre:  John  Green,  Wallace,  Proctor 
11 


162        General.  Theatrical  Eeminiscences. 

(since  starring  it  in  Europe),  John  Herbert,  Riley,  John 
Kent,  W.  S.  Walton,  Bobby  Meer,  John  Hamilton, 
Johnson,  Corey,  Fielding,  Lansing  (Lans.  Dougherty), 
James,  Erederick,  Parkinson,  Harry  Knight,  Harrison, 
McConachy,  Master  Meer,  Mrs.  Greene,  Mrs.  Meer,  Miss 
Woodhull,  Miss  Ellen  Kent,  Miss  Eliza  Kent. 

Jack  Collins,  with  his  round,  red  and  good  natured  phiz, 
strutted  ou  the  Albany  boards.  Jack  was  a  good  fellow 
and  a  lair  actor.  He  was  the  son  of  Lord  Dacres,  with 
whom  the  Yankees  contended  on  the  broad  Atlantic. 
Collins  died  in  New  Orleans. 


Henry  Rockwell— A  Romantic  Life. 

Henry  Rockwell,  a  handsome  boy,  from  Utica,  was  one 
of  Parsons'  apprentices  at  the  North  Pearl  Street  Circus. 
He  became  manager  of  various  companies  in  the  United 
States,  erected  a  theatre  in  Cincinnati,  and  at  one 
time  was  quite  wealthy,  but  he  failed  in  the  business,  and 
died  shortly  afterwards.  A  gentleman  by  the  name  of 
Bagely,  of  Albany,  was  his  guardian,  and  his  life  Avas 
strange  and  romantic.  It  never  was  rightly  known  who 
his  parents  were.  In  the  fall  of  1836  I  was  standing  in 
company  with  Rockwell  one  cold  night,  on  the  corner  of 
Camp  and  Poydras  streets.  New  Orleans.  An  English 
woman  approached  us  with  two  small  boys,  about  five 
and  seven  years  of  age.  She  seemed  weighed  down  with 
grief.  Slie  asked  if  we  knew  of  any  humane  person  who 
would  take  hur  children  and  rear  them — slie  had  married 
a  second  husband,  who  was  a  Balize  i)ilot,  and  she  resided 
with  him  at  the  South  West  Pass  of  the  Mississippi  river. 
This  spot  is  one  of  the  most  dreary  of  God  forsaken  places, 
the  pilot's  house  being  erected  on  piles  and  surrounded 
by  swamps,  drift  logs  and  alligators.  The  mother  in- 
formed us  tliat  her  husband  had  conceived  an  ill  feeling 
towards  her  children,  and  at  his  request  she  had  come  i;p 


General  Theatrical  Reminiscences.        163 

to  the  city,  to  get  rid  of  them,  or  never  return  herself. 
Rockwell  took  the  oldest  boy,  and  a  man  by  the  name 
of  Outlaio,  a  constable,  took  the  other.  It  was  a  heart- 
rending scene,  to  see  the  mother  and  children  part  forever! 
Outhiw,  being  a  man  of  dissolute  habits,  neglected  the  child 
that  was  given  to  him,  and  it  died  soon  afterwards  of  yellow 
fever.  Rockwell  well  trained  the  other  little  fellow  in  the 
arts  and  mysteries  of  the  ring,  and  he  soon  became  a  great 
favorite.  Little  John  became  the  youthful  rider  in  a  com- 
pany that  commenced  its  tour  through  Florida  and  Ala- 
bama, and  was  taken  sick — physicians  pronounced  it  a 
hopeless  case — the  company  was  obliged  to  leave  for  other 
towns  northward,  and  were  reluctantly  compelled  to  leave 
him,  and,  it  w^as  supposed,  forever,  in  the  hands  of 
strangers.  Many  years  passed,  and  the  fate  of  Little  John 
remained  a  mystery.  I  happened  to  be  in  JSTew  Orleans  on 
another  occasion,  and  one  night,  at  a  masquerade  ball,  a 
rough,  sea-faring  man  approached  me  and  asked  my  name, 
and  if  I  knew  one  Rockwell.  He  was  the  step-father  of 
John  C.  He  informed  me  that  his  wife  had  been  dead 
many  years,  but  before  she  died  she  had  received  a  letter 
from  her  son  in  Alabama.  This  was  Little  John.  He  recov- 
ered from  his  sickness,  and,  like  Oliver  Twist,  had  fallen 
into  the  hands  of  a  good  Samaritan,  the  daughter  of  his 
benefactor.  Now  the  curtain  drops  on  this  strange  drama. 
The  youthful  rider  I  have  spoken  of  was  one  of  the  filli- 
bustering  party  under  Lopez,  who  was  captured  and  gar- 
roted  at  Cuba,  a  few  years  ago. 


CHAPTER   XXIX. 

Mons.  Mallet. 
•     In  the  orchestra  of  Biven's  Theatre,  Xorth  Pearl  street, 
near  the  corner  of  Patroon,  was  an  old  Frenchman  by  the 
name  of  Mons.  Mallet  (prononnced  Malla).     This  was  the 
identical  person  from  whose  history  Hackett,  the  actor, 
first  conceived  the  idea  of  forming   the  phiy   of  Mouk. 
Mallet.      Mallet    Avas    ardently    attached    to    Xapoleon, 
and   after   the   exile    of    the    emperor,   was    obliged    to 
flee  to  the  United  States,  leaving  behind  him  an  only  and 
beantiful  danghter.     He  took  np  his  abode  in  an  obscure 
New  England  village.     He  called  daily  at  the  post-oflftce 
for  a  letter  from  his  daughter,  asking  for  a  letter  for  Mons. 
Malla,  and  was  of  course  answered  in  the  negative,  the 
clerk  seeing  no  such  name  as  ]\Ialla  (spelt  Mallet.)     The 
poor  Frenchman  was  nearly  insane  at  the  disappointment 
—  still  he  called  at  the  post-office  daily,  and  received  the 
usual  answer  of  '•'  no  letter  for  Mons.  Malla."     By  accident 
the  letter  was   discovered    l»y  a  i)erson  who   understood 
French,  and  the  old  Frenchman  received  the  joyful  news 
of  his  daughter's  safety.     She  shortly  afterwards  arrived 
in  the  United  States.     Mr.  Hackett  was  playing  Mons. 
Mallet  nuiuv  years  ago  in  Boston.     Judjre  of  his  surprise 
when  lie  was  informed  that  the  hero  of  this  play  was  then 
in  the  orchestra! 

Terrible  Scene— Death  of  Low! 
I  became  aciinaiiited  with  two  young  men  in  tlie  South- 
western countrv  some  twentv-two  years  ago.     Tliev  were 


•     General  Theatrical  Reminiscences.        165 

Albanians,  and  had  embraced  the  theatrical  profession. 
Thev  passed  through  the  most  thrilling  scenes  I  ever 
heard  of  on  the  stage  of  life.  The  first  one's  name  was 
James  Low.  He  was  the  low  comedian  at  the  Louisville 
theatre,  under  the  management  of  Mrs.  Drake.  Madame 
Celeste  was  at  that  time  playing  U\e  French  Spy.  Low 
was  playing  Toney,  the  comic  part  in  the  piece.  In  the 
fighting  scene  Toney  rashes  on  the  stage  with  a  bayonet 
in  his  right  hand —  he  pretends  to  be  killed,  and  lies  down 
as  if  dead  —  he  suddenly  rises  to  his  feet  and  hurries  off 
the  stage  backwards.  In  this  manner  poor  Low  rushed 
off  the  stage  clincliing  the  instrument  of  his  death  I  His 
hand  came  in  contact  with  one  of  the  wings  with  great 
force,  and  ran  tlie  bayonet  deep  into  his  groin,  and  he 
staggered  into  the  green  room.  I  was  near  him  when  he 
expired.  His  last  Avords  were  ''Mother!"  The  scene  was 
truly  horrible.  Tiie  contortions  of  the  painted  face  while 
in  the  agonies  of  death,  can  never  be  effaced  from  the 
memory  of  those  who  witnessed  this  melancliolv  sight. 
The  performance  proceeded  notwithstanding. 


Capsizing  of  a  Vessel  —  Terrible  Suffering— An  In- 
tensely Thrilling  Scene! 

The  other  person  Avas  Lansing  Dougherty,  son  of  Coun- 
selor Dougherty,  of  Albany,  who  was  attached  to  Duffy  & 
Forrest's  company,  under  the  name  of  Lansing.  He 
started  for  Texas  from  !New  York,  on  board  a  schooner, 
Avith  a  theatrical  company.  The  vessel,  during  a  se- 
vere gale  in  the  gulf,  was  capsized  at  midnight  1 
All  the  passengei's  and  crew  were  lost  except  Dougherty 
and  another  young  man  whose  name  I  have  forgotten. 
They  managed  to  hold  on  to  their  berths  for  two  days,  there 
being  just  room  enough  between  the  decks  for  their 
heads  to  remain  out  of  water,  in  their  living  tomb.  The 
sea  had  finally  become  calm,  and  they  had  as  much  light 


1G()        General  Theatrical  Reminiscences. 

as  if  in  a  diving  bell.  They  could  distinctly  see  the 
sharks  playing  about  and  devouring  their  companious! 
They  resolved  to  make  one  desperate  dive  for  the  compan- 
ion way,  and  reach  the  keel  of  the  vessel  if  possible. 
Dougherty's  companion  was  to  dive  first  and,  if  success- 
ful, was  to  give  a  loud  knock  on  the  planks.  He  made 
the  first  dive,  and  was  successful.  In  a  few  moments 
Dougherty  heard  the  knock.  He  also  made  the  fearful 
dive,  and  reached  the  keel  of  the  vessel.  But  here  fresh 
horrors  and  suffering  awaited  them.  For  three  long  dreary 
days  they  clung  to  the  vessel  in  the  broiling  sun,  with  no 
clothing  but  their  shirts  !  Their  bodies  became  full  of 
blisters  and  sores  from  the  heated  copper  on  the  keel. 
Tiiey  were  finally  picked  up  by  a  vessel  and  brought  to 
New  Orleans — the  most  miserable  looking  subjects  the  eye 
ever  beheld.  I  obtained  the  account  from  Dougherty 
shortly  after  he  came  out  of  the  hospital.  I  last  saw 
Dougherty  at  Cincinnati,  playing  old  men  in  John  Youngs' 
company. 

Miss  Pelby,  an  excellent  actress,  played  at  this  theatre. 
She  was  from  Boston,  and  the  daughter  of  manager  Pel- 
by. Her  mother,  a  very  talented  lady,  modeled  the  group 
of  wax  statuary,  The  Trial  of  Clirist.  I'he  Mestayer  f<im- 
ily  are  related  to  the  Pelby's.  Mrs.  Mestayer  and  Mrs. 
Pelby  are  sisters. 

Mrs.  C.  Thorne — wife  of  Charley  Thorne,  the  actor, 
who  has  received  an  immense  fortune  from  his  father's 
estate,  in  New  York — is  niece  of  Mrs.  Pelby.  The  Mes- 
tayer family  were  all  connected  with  the  stage.  John  was 
a  low  comedian — he  is  dead.  Lewis  played  old  men. 
Charley  is  dead.  His  Avidow  is  Barney  Williams'  wife. 
Old  Mestayer  is  dead.  Harry  Mcstayin-  was  connected 
with  the  circus.     He  was  an  excellent  violin  player. 

The  first  tight  rope  dancer  of  any  note  flourished  in  the 
reign  of  Charles  II.  His  name  was  Johnny  Hall.  Du- 
crow  wjis  a  famous  rope  dancer  and   ridei'.     lierr  Cline 


General  Theatrical  Reminiscences.        167 

was  born  in  Loudon.  His  brotlier  Andrew,  a  Herculean 
performer,  was  born  in  Germany.  Tliomas,  another 
brother,  was  a  melo-dramatic  actor  of  the  old  Franklin 
Theatre,  New  York.  His  daughter  was  Jerry  Merrifield's 
wife.  Jerry  Merrilield  was  found  dead  in  his  bed  at  St. 
Louis,  August,  1862.  He  was  well  known  in  Albany;  he 
was  a  good  comedian,  and  a  clever  felloAv  generally. 

Goff,  the  man-monkey,  was  one  of  Ducrow's  produc- 
tions. The  bills  of  the  day  metamorphosed  GoflF  into  a 
Frenchman,  known  as  Mous.  Goffe.  He  was  a  London 
cockney,  and  came  as  near  imitating  the  monkey  as  any 
human  being  could,  on  or  off"  the  stage.  He  performed 
in  Albany.  He  came  to  the  United  States  with  Fletcher, 
the  statue  man.  Fletcher  married  Miss  Geer,  of  Duffy  & 
Forrest's  company. 

Edmond  S.  Connor  is  living  in  New  York.  He  married 
Charlotte,  daughter  of  Jack  Barnes.  Connor  was  at  one 
time  manager  of  the  Green  Street  Theatre,  Albanv.  Old 
Mrs.  Barnes — once  a  star  of  the  first  magnitude — is  still 
living.  She  was  sister  to  Mrs.  Walstein,  who  played  old 
women  equal  to  Mrs.  Barrett,  of  Gilfert's  company.  Mrs. 
Walstein  was  attached  to  Biven's  company — the  theatre 
being  in  Division  street,  near  Green. 


The  Mysterious  Egg— The  Frightened  Barber— Old 

Tweed  Dale. 

Mr.  Daufield  had  out  flaming  posters  that  he  Avould 
give  a  grand  exhibition  of  fireworks  on  the  hill,  in  Wash- 
ington street,  near  the  old  hay  scales,  in  1824  or 
'25.  Fireworks  had  been  played  out,  in  a  manner. 
Several  exhibitions  of  that  kind  had  been  given  by  a  Mr. 
Buckmaster.  Mr.  B.  had  declared  that  he  would  astonish 
the  Bucktails  at  one  of  his  fiery  exhibitious  (many  years 
before  the  display  intended  upon  the  hill),  old  Buck  as- 
tonished himself,  as  well  as  the  doctors.     He  was  foolhardy 


168        General  Theatrical  Reminiscences. 

euouo-h  to  fire  one  of  the  rockets  with  a  licfhtecl  cijrar 
held  in  his  mouth,  and  retired  a  wiser  and  better  man, 
but  terribly  burned.  Danfield's  exhibition  was  a  miser- 
able failure  for  the  following  curious  reason :  About 
this  time  a  hen's  ^gg  was  found  in  a  nest  in  the  neighbor- 
hood of  Isaac  Dennison's  mansion.  On  the  egg,  in  bas 
relief  letters,  was  this  strange  inscription:  "  Oh,  ye  sin- 
ners, repent,  for  the  world  will  be  burned  on  the  tenth  day 
of  November!"  Very  few  persons  thought  of  amuse- 
ment— the  excitement  ran  high.  There  were  no  spiritu- 
alists or  Millerites  in  those  days,  and,  if  there  had  been, 
they  would  have  been  thrown  far  in  the  background. 
Knots  of  sinners  could  be  seen  on  the  corners  of  the 
streets,  discussing  the  coming  event.  Some  folks  fairly 
howled  with  fear  and  trembling.  Some  became  as  patient 
as  lambs  about  to  be  led  to  the  slaughter  antj  awaited  the 
coming  of  the  "general  muss"  with  christian  resignation. 
A  poor  devil,  a  barber,  became  so  nervous  while  shaving  a 
customer,  that  he  actually  shaved  off  one  of  his  ears ! 
Old  grandfather  Tweed  Dale,  of  the  Lancaster  school  (who 
never  flogged  the  urchins)  was  minus  of  sciiolars  for 
many  a  day.  The  fighting  youths  of  tlie  liill  and  Fox's 
Creek  ceased  to  batter  each  other  witli  brickbats  during 
this  aAvful  suspense.  Hittites  had  played  out.  Jim 
Boardman,  who  "'  l)ui]t  stronger  than  the  mason,''  and  who 
was  always  on  huntl  to  assist  the  coroner  in  rifling  the 
pockets  of  drowned  persons,  declared  tluit  the  "  folks  Avere 
crazy,  when  they  might  escape  the  conflagration  by  put- 
ting for  Lower  Canada."  Old  Penny,  a  demented  street 
preacher,  pitched  into  the  sinners  right  and  left,  and 
warned  all  hands  to  keep  their  eyes  skinned  for  the  fatal 
l(»th  of  November!  Joliii  Winne  and  Lew  Mcintosh, 
typos,  said  "  the  10th  might  come  and  be  blowed! "  Tliey 
had  received  nothing  but  lottery  tickets  for  their  services 
(the  boss  gave  lottery  tickets  to  the  jours  in  lieu  of  cash). 
Thev  liiKl  drawn  nothing  but  blanks  for  six  months,  and 


General  The ATEiCAL  Reminiscences.        K!!) 

liad  become  desperate!"  Johnny  Feltmun  gave  them 
fatherly  advice,  and  with  tears  in  his  eyes  begged  them  to 
'•repent,  and  remember  the  little  scores  on  his  slate  before 
the  10th."  The  affair,  of  course,  turned  out  to  be  a  de- 
cidedly bad  egg.  The  hoax  was  got  up  by  a  shoemaker,  by 
preparing  the  shell  of  the  egg  with  a  strong  acid,  after 
putting  on  the  letters.  Hence  this  grand  hubbub  among 
the  weak-minded  and  credulous  ! 


CHAPTER  XXX. 

"Pinkster  Day"— Old  King  Charley. 

Old  Piatt,  a  magician,  performed  slight-of-hand  and 
ventriloquism  on  public  occasions  in  the  summer.  Among 
some  of  the  interesting  experiments  performed  by  the  pro- 
fessor were  running  pins  and  needles  in  various  parts  of 
his  body,  biting  and  licking  a  red-hot  poker.  A  collec- 
tion was  then  taken  up  for  old  Piatt's  benefit.  He  could 
generally  be  seen,  w^ith  his  violin,  on  Pinhster  day, 
on  the  hill — Pinkster  hill — south  of  the  Capitol,  among 
the  darkies.  Pinkster  day  was  a  great  day,  a  gala  day,  or 
rather  week — for  they  used  to  keep  it  up  a  week — among 
the  darkies.  The  dances  were  the  original  Congo  dances, 
as  danced  in  their  native  Africa.  They  had  a  chief — Old 
King  Charley.  The  old  settlers  said  Charley  was  a  prince 
in  his  own  country,  and  was  supposed  to  have  been  one 
hundred  and  twenty-live  years  old  at  the  time  of  his 
death !  On  these  festivals  old  Charley  was  dressed  in  a 
strange  and  fantastical  costume.  Nearly  bare  legged, 
he  wore  a  red  military  coat  trimmed  profusely  with  varie- 
gated ril)bons,  and  a  small  black  hat  with  a  pompon 
stuck  in  the  side.  The  dances  and  antics  of  these  darkies 
must  have  afforded  great  amusement  for  the  ancient 
burghers.  As  a  general  thing  the  music  consisted  of  a 
sort  of  drum,  or  instrument  constructed  out  of  a  box  with 
sheep-skin  heads,  upon  which  old  Charley  did  most  of  the 
beating,  accompanied  by  singing  some  queer  African  air. 
Charley  generally  led  oil"  the  dance,  when  the  Sambos  and 


General  Theatrical  RE^nNiscENCES.        171 

Ph  illises,  juvenile  and  antiquated,  Avould  put  in  the  double- 
shuffle-heel-and-toe-breakdown,  in  a  manner  that  would 
have  thrown  Master  Diamond  and  other  modern  cork- 
onians  somewhat  in  the  shade.  These  festivals  seldom 
lailed  to  attract  large  crowds  from  the  city,  as  well  as  from 
the  rural  districts,  affording  them  any  amount  of  unal- 
loj'ed  fun.  Negro  minstrelsy  has  held  its  own  down  to 
the  present  day,  now  in  full  feather — it  is  likely  to  so  con- 
tinue for  years  to  come. 


The  Menagerie— The  ''  What  Is  It  ?  " 

Thirty-five  years  ago  a  sort  of  menagerie  opened  in  the 
stable  opposite  Bowlsby's  Hotel,  in  North  Market  street, 
southwest  corner  of  Van  Tromp  street.     The  lower  part 
of  the  building  is  now  occupied  as  a  stove  store,  &c.,  and 
the  upper  part  by  several  families.     Bowlsby's  was  consid- 
ered a  first-class  hotel  in  those  days,  equal  to  Skinner's  and 
Rockwell's,  afterwards  called  the  City  Hotel  and  Mansion 
House,  (the  sites  of  »those  two  celebrated  hotels  are  noAV 
occupied  by  those  magnificent  structures.  Marble  Hall  and 
Ransom's  Building.)    Bowlsby's  Hotel  had  been  previously 
kept  by  Reuben  Smith,  uncle  to  Captain  Henry  Smith,  a 
brave  young  officer,  aid  to  General  Scott  in  his  Mexican 
campaign,  in  which  he  lost  his   life.     Members    of  the 
legislature,  and  other  dignitaries,  sojourned  at  this  house. 
But  to  the  show — it  consisted  of  two  cub  bears — Dandy 
Jack,   a  gloomy  looking  monkey,   was  the  star — a   calf 
Avith  two  heads,  and  a  monster  that  was  thrown  upon 
the  beach   at   Staten  Island — at   least   so  the   showman 
informed  the  audience.     It  Avas  drawn  on  four  wheels,  and 
was  about  twenty  feet  long — it  was  a  sort  of  What  is  if. 
Its  tail  resembled  that  of  a  Avhale — its  body  was  black  and 
smooth,  the  head  square,  with  a  pair  of  eyes  resembling 
two  bung  holes  in  a  large  sized  hogshead.     Dr.  Latham 
was  the  manager.     Stevens,  in  his  travels  in  Suuth  Amer- 


172         General  Theatrical  Keminiscexces. 

ica,  spejiks  of  finding  a  small  ranche  on  the  Andes,  I 
think,  and  was  greatly  astonished  to  discover  hnman  be- 
ings living  in  this  remote  region.  He  hailed,  in  Spanish, 
two  men,  but  judge  of  his  surprise  when  he  avus  answered 
in  English,  by  two  live  Yankees :  Dr.  Latham  and  his 
partner,  who  were  trapping  wild  beasts! 


Menagerie  Destroyed  by  a  Mob ! 
This  menagerie  I  have  spoken  of  was  destroyed  by  a  mob 
at  "Waterloo,  in  the  western  part  of  the  state.  The  mana- 
ger had  changed  the  critter  to  a  whale.  The  show  folks 
besmeai'ed  it  through  the  day  Avith  a  very  rancid  kind  of 
oil — the  odor  having  the  effect  to  keep  the  meddling  au- 
dience at  a  respectful  distance,  as  close  examination  Avould 
be  fatal  to  the  Avhale  stock.  A  prying,  meddlesome  hiAv- 
ver — a  Yankee,  of  course — felt  extremelv  anxious  to  ascei'- 
tain  the  exact  thickness  of  the  Avhale's  hide.  He  accord- 
ingly took  out  his  knife,  regardless  of  the  whale  y  smell, 
and  cut  a  large  hole  in  the  side  of  the  monster.  The  law- 
yer was  completely  dumbfounded.  The  monster  of  the 
deep  had  a  body  made  of  sole-leather  ! — his  tail  Avas  the 
only  thing  that  was  Simon  pure  about  his  Avhaleship.  The 
manager  and  his  assistants  carried  their  Award  robe,  trunks, 
etc.,  in  the  Avhale's  belly — (jirobably  taking  the  idea  from 
old  Jonah)  I  The  head  of  the  Avhale  Avas  portable,  or 
come-off-able.  Suffice  it  to  say,  as  soon  as  the  trick  Avas  dis- 
covered the  mob  harpooned  the  entire  shoAV.  Tliis  Avas 
some  time  previous  to  Barnum's  day,  and  the  art  of  hum- 
bugging had  not  arrived  at  the  present  pitch  of  perfection. 


Charley  Parsons,  or  Roaring  Ralph  Stackpole. 

But  1  am  Avandering  too  far  from  Albany — so  1  Avill 
resume  the  reminiscences  of  old  Gotham.  Charley  Par- 
sons played  at  the  South  Pearl  Street  Theatre,  after  Bur- 


Genkhal  Tiieateical  EKMiNisri:xcEs.       ITo 

rough's  time.  Burronglis,  a  splendid  nielo-dramatic  per- 
former, managed  for  Sandford.  Mrs.  Hamblin.  ^vife  of 
Tom  Hamblin,  of  the  old  Bowery,  was  the  leading  Avoman 
in  this  company.  Parsons  was  an  inferior  actor,  especially 
in  tragedy — he  was  of  Herculean  frame,  round  shouldered, 
and  had  a  voice  like  artificial  stage  thunder  I  He  was  a 
great  favoi'ite,  however,  in  the  southwest.  He  played 
Eoaring  Ralph  Stackpole  to  perfection.  Had  Dr.  Bird 
seen  Ealpli  and  Parsons  he  would  have  been  puzzled  to 
distinguish  one  from  the  other.  It  was  actually  worth 
the  price  of  admission  to  see  Parsons  as  Ralph,  without  his 
uttering  a  word.  Parsons  being  a  speculative  genius, 
left  the  stage  and  Avent  to  preaching  in  the  Methodist 
church  at  Louisville,  but  he  soon  slid  backwards,  and 
finally  slid  on  the  stage  again — but  the  spec  wouldn't  pay  ; 
he  made  a  failure,  and  so  Roaring  Ralph  abandoned  the 
devil's  frying  pan  (the  stage),  and  was  once  more  received 
to  the  arms  of  his  deserted  flock.  I  heard  him  preach  the 
next  Sunday  after  he  left  the  stage,  but  it  was  Roaring 
Ralph  all  through  the  sermon,  the  prayer,  the  benedic- 
tion. 

Clara  Fisher  and  her  Songs. 
Among  the  celebrities  that  appeared  about  this  time  at 
the  South  Pearl  Street  Theatre,  was  Clara  Fisher,  Avho 
was  the  prodigy  of  her  time.  She  Avas  the  youngest  sister 
of  Mrs.  Vernon.  Vernon  had  the  management  of  the 
theatre  for  some  time,  till  he  lost  his  voice,  and  retired  to 
a  form,  Avhere  he  died.  He  Avas  the  architect  of  the  first 
St.  Paul's  Church,  in  Ferry  street.  The  songs  that  came 
upon  the  stage  at  this  time  Avere  the  Hunters  of  Ken- 
tucky, WluCll  he  King  t)ut  Charley,  The  Dashinf/  White 
Seraeant,  sung  by  Miss  Twibill;  Cotniny  thro  the  Rye, 
sung  by  Mrs.  Forbes.  Sloman  introduced  Kitty  Clover, 
and  other  popular  comicalities.  Miss  Fisher  sang  with 
much  effect  Fall  not  in   Love,  dear  Girls  Beware.     The 


174        General  Theatrical  Remimscences. 

songs  soon  wore  out,  and  those  vlio  sung  them  had  as 
brief  a  career. 

Miss  Twibill,  a  beautiful  girl,  who  played  at  the  Pearl 
Street  Theatre,  was  the  daughter  of  Twibill,  an  actor  and 
vocalist,  Aviio  was  unequaled  in  nautical  songs,  such  as  the 
Bay  of  Biscai/,  The  Watermaji,  Harry  Bluff,  &:c.  It  was 
said  that  Twibill  treated  his  daughter  very  cruelly  at 
times.  During  one  of  Twibill's  fits  of  anger,  the  gallant 
Tom  Flynn,  comedian,  interfered  with  her  heart,  hand 
and  fortune,  and  one  day  made  the  pretty  and  fascinating- 
Miss  Twibill  Mrs.  Flynn.  Flynn  was  a  genius  in  his  Avay. 
He  was  engaged  to  play  at  the  Pearl  Street  Theatre,  and 
was  to  open  as  Young  Eapid,  in  Cure  for  the  Heart  Ache. 
Night  api3roached,  the  boat  from  New  York  was  detained 
on  the  bar.  Vernon,  I  think,  was  substituted  for  Flynn, 
but  at  the  end  of  the  first  act  Flynn  arrived  and  finished 
the  pla}'.  Old  Jack  Barnes  and  his  wife  were  playing  here 
at  the  time.  Old  Jack,  in  his  own  peculiar  style,  made  an 
apology  to  the  audience  for  Flynn,  which  was  as  good  as 
a  first-class  farce,  and  the  performance  went  off  with  im- 
mense eclat.  Roberts,  an  excellent  comedian,  played  that 
night.  His  rendition  of  Bailey  Nichol  Jarvie,  in  Bob  Boy, 
was  probably  never  equaled  in  either  hemisphere.  His 
French,  Scotch,  Irish  and  Cockney  dialect  was  smooth, 
natural  and  perfect.  He  was  in  every  sense  of  the  word  a 
gentleman  and  a  scholar,  amiable,  and  beloved  by  the  pro- 
fession, as  well  as  by  all  who  were  fortunate  enough  to 
become  acquainted  with  him.  Roberts  succeeded  Gates  at 
the  Bowery.  He  died  at  Charleston.  Roberts  was  a 
printer,  and  an  excellent  one,  too. 


Tom  Flynn  and  the  Elder  Booth— How  Booth's 
Nose  was  Broken, 

Speaking  of  Tom  Flynn  reminds  me  of  an  incident  of 
some  importance.     Tom  broke  the  nose  of  the  celebrated 


General  Theatrical  Kemixiscexces.         175 

tragedian  Lucius  Junius  Booth,  with  a  fire  poker  or  tongs, 
at  a  hotel,  I  think,  in  Chai'leston,  S.  C.  This  was  the 
cause  of  that  very  marked  nasal  sound  in  Booth's  utter- 
ance. Previous  to  this  unfortunate  mishap  Booth's  face 
was  very  handsome — a  perfect  model ;  his  nose  was  promi- 
nent, but  not  too  much  so,  and  a  little  inclined  to  acqui- 
line.  His  face,  as  all  who  ever  saw  it  well  remember,  was 
"  strangely  beautiful,"  and  remarkably  expressive.  His 
eyes  were  of  a  dark  blue,  full,  rolling,  and  as  bright  and 
piercing  as  the  eagle's.  Booth  had  the  one  great  failing 
of  indulging  too  freely  in  the  bowl,  though  at  times  he 
would  abstain  from  it  for  weeks,  even  months.  Liquor 
would  frequently  produce  upon  him  a  state  of  frenzy  that 
was  sometimes  terrible,  and  when  these  fits  were  on,  he 
Avould  as  soon  attack  friend  as  foe.  Even  in  his  palmiest 
days,  when  Booth  was  himself,  so  deeply  would  he  be  en- 
grossed in  the  character  he  represented,  and  be  so  completely 
carried  away  with  it,  that  his  brother  actors  were  rather  shy 
of  him,  and  well  on  their  guard  lest  he  should  play  real 
tragedy  with  them.  While  Booth  was  playing  Eichard  at 
the  old  Park  Theatre,  he  chased,  with  sword  in  hand,  an 
actor  who  pla^'ed  Eichmond,  out  of  the  back  door  of  the 
theatre  into  the  park.  Eichmond,  however,  being  the 
swiftest  on  foot,  eluded  him.  Booth  came  very  near  kill- 
ing Miss  Johnson  (afterwards  Mrs.  Hilson),  at  the  Park 
Theatre.  He  was  playing  Othello,  she  Desdemona.  \\\ 
the  scene  where  Othello  is  supposed  to  smother  Desdemona, 
by  placing  a  pillow  over  her  face  while  she  is  in  bed, 
Booth  bore  down  the  pillow  with  such  force  as  nearly  to 
suffocate  her.  The  actors  behind  the  scenes,  fearing  he 
was  carrying  the  joke  too  fiir,  or  acting  a  little  too  naturally, 
rushed  to  the  bed  and  extricated  the  fair  Desdemona  from 
her  perilous  situation. 

But  to  return  to  the  breaking  of  Booth's  nose.  Booth 
and  Flynn,  it  appears,  roomed  together.  In  the  course  of 
the  night,  having  just  returned  from  the  theatre,  Booth 


176        General  Theatrical  Remim.scences. 

attacked  Flynn,  wlien  in  one  of  his  fits,  and  in  the  dress 
of  lago,  exdaiming  as  he  approached  him,  in  the  lan- 
guage of  lago — 

"I^othing  can  or  shall  content  my  soul 
'Till  I  am  even  with  him,  wife  for  wife  ; 
Or  failing  so,  yet  that  I  have  put  the  Moor 
At  least  into  a  jealousy  so  strong, 
That  judgmeut  cannot  cure." 

Flynn  in  self-defence  grabbed  the  fire  poker  and  struck 
Booth  in  the  face,  breaking  his  nose!  Flynn  ever 
regretted  the  act,  and  would  actually  shed  tears  whenever 
allusion  was  made  to  the  affair,  for  he  absolutely  idolized 
Booth. 


ANDREW  JACKSON    ALLEN, 

Old  Costumer  of  Edwin  Forrest,  in  a  Favorite  Cliaracter. 


CHAPTER  XXXI. 

Dammy  Allen— Forrest's  CosUimer. 

Andrew  Jackson  Allen,  from  the  days  of  the  old  Green 
Street  Theatre  until  his  linal  exit  from  life's  busy  stage,  was 
well  known  to  the  citizens  of  Albany,  He  was  born  in 
the  city  of  Xew  York,  A.  D.,  1788,  and  his  deafness  was 
occasioned  by  a  severe  cold  at  sea.  Dummy,  as  he  was  fa- 
miliarly called,  was  a  costumer,  but  occasionally  acted. 
His  taste  and  experience  rendered  Allen  an  fait  in 
getting  up  stage  costumes.  He  accompanied  Forrest 
{the  Boy,  as  he  called  him),  to  Europe,  as  costumer  to 
the  great  tragedian.  A  gentleman  of  this  city  meeting 
Dummy,  who  had  borrowed  $10  of  him,  accosted  him 
with,  '*  Mr.  Allen,  you  Avould  greatly  oblige  me  by  paying 
that  ten  dollars — I've  Avaited  a  long  time."  "  Oh  yes,  de 
poy  (he  always  called  Forrest  the  boy),  blayed  berry 
well  considering  he  Avas  so  padly  subborted."  "  Mr.  Allen. 
I'm  not  talking  about  acting,  I  want  the  $10."  "  I  tink 
he  will  do  petter  de  next  time  as  de  cast  is  petter."  '•'  Mr. 
Allen,  will  you  step  in  at  Harmony  hall  and  take  a  drink  ?" 
"  Buch  oplidged  to  you,  I  tink  I  will,  just  come  from  reher- 
sal,  and  am  berry  dry  !" 

Many  anecdotes  are  told  of  Allen.  He  Avas  (in  theatri- 
cal parlance)  an  inveterate  gag,  and  would  manage  to 
draAv  a  house  for  his  benefit,  when  everybody  else 
failed.  Many  years  ago  he  advertised  a  grand  balloon  ascen- 
sion from  a  stable  on  tlie  hill,  someAvhere  in  Washington 
street.  Two  distinguished  personages  Avere  to  be  the  aero- 
nauts, viz:  Mons.  G^agfere^/joand  Madamoiselle  Puifsiremo; 
12 


178       General  Theatrical  Reminiscences. 

this  announcement  of  course  drew  a  crowd.  The  balloon- 
ists  were  two  torn  cats,  dressed  in  the  height  of  fiisliion, 
strapped  tight  under  the  balloon.  The  aeronauts  ascended 
a  sliort  distance  and  then  came  down  to  mother  earth, 
landing  somewhere  in  Fox's  creek,  minus  of  life !  On  all 
such  occasions  Dummy  got  the  proceeds  of  the  exhibition 
first  safe  in  his  breeches  pocket !  His  benefit  took  place  at 
the  Pearl  Street  Theatre,  during  Vernon's  management. 
Dummy  produced  a  grand  Harlequin  pantomime,  acting 
"  clown,"  for  this  night  only,  at  the  request  of  the  F.  F. 
A.'s.  At  the  conclusion  of  the  grand  pantomime  a  balloon 
was  to  ascend  from  the  back  of  the  stage  to  the  dome  of 
the  theatre,  and  there  it  was  to  make  a  "  brilliant  burst" 
The  balloon  was  filled  with  lottery  tickets,  and  the  audi- 
ence were  to  draw  "  several  valuable  prizes,"  made  of  silver 
leather  —  (Dummy  being  great  on  the  manufacture  of  this 
article)  —  invented  by  the  beneficiare,  Andrew  Jackson 
Allen.  A  miniature  balloon  was  hauled  up  Avith  a  string 
after  the  aforesaid  excruciating  pantomime  was  concluded. 
Some  person  stationed  above,  at  a  given  ewe,  emptied  a  bag 
of  folded  bits  of  paper  upon  the  heads  of  the  audience — 
all  blanks!  Dummy,  at  this  time,  was  snugly  at  home, 
enjoying  golden  dreams  in  the  arms  of  Morpheus. 


Dummy  Allen's  "Virginia  Gag. 

Sol.  Smith,  in  his  reminiscences,  relates  many  anecdotes 
of  Allen.  Dummy  was  hard  up  at  a  small  town  in 
the  valley  of  Virginia.  His  silver  leather  had  become 
exhausted,  and  so  he  determined  to  give  the  Virginians 
an  invaluable  treat,  viz:  a  grand  balloon  ascension, 
assisted  by  Gageremo,  &c.  A  great  rush  of  j)eople 
from  the  surrounding  mountains  was  the  resuic.  Such  an 
exhibition  had  never  been  seen  in  those  parts  before,  or — 
since!  Tiie  ))alloon  was  about  to  be  inflated,  when  Dum- 
my, to  his  horror,  discovered  several  rents  in  the  paper! 


General  Theatrical  Eemixiscences.         179 

Presence  of  mind,  and  a,  tiglit  grip  upon  the  proceeds 
never  forsook  the  inventor  of  silver  leather.  Dummy 
mounted  a  cider  barrel,  and  informed  the  multitude  that 
certain  chemicals  had  become  exhausted,  and  that,  for  the 
success  of  the  balloon  and  the  daring  navigators,  it  was 
necessary  for  him  to  post  off  to  the  next  village  to  pro- 
cure some  of  those  important  ingredients  that  his  gas  re- 
quired. He  appealed  to  them  as  ''  Virginians,  the  noble 
descendants  of  Pocahontas,  to  Avait  one  hour  for  his  re- 
turn. He  should  ever  feel  proud,  as  the  father  of  the 
American  stage,  for  the  kindness  he  had  received  from  the 
most  noble  race  America  had  ever  produced,"  i.e.,  Virgin- 
ians. Dummy  started  for  the  chemicals,  on  horseback, 
exclaiming,  as  he  waved  his  hand,  "  Dum  Vivimus  Dum- 
meromo  I"  It  is  needless  to  say  the  father  of  the  American 
stage  outstripped  the  far-famed  Johnny  Gilpin.  After 
riding  many  miles  he  made  a  halt,  and  from  a  high  moun- 
tain had  a  fine  view  of  the  village  he  had  recently  de- 
parted from.  Dummy  had  an  impediment  in  his  speech, 
and  spoke  like  a  person  having  a  severe  attack  of  influ- 
enza. In  relating  this  incident,  he  said,  "  It  ivas  the  dab- 
dest  fide  sight  he  ever  seed.  The  hullug'd  ad  disapjioidted 
fellows  hurdt  the  host  hagdificedt  hallood  ever  codstruc- 
ted.  The  fire  shootig  \ip  to  the  horrizod  was  stcblibe."  The 
father  of  the  American  stage  never  again  visited  the  de- 
scendants of  Pocahontas  in  that  section  of  Virginia. 

Allen  Avas  a  great  admirer  of  General  Jackson.  He  de- 
clared that  it  was  through  his  (Allen's)  influence  that  the 
people  of  the  United  States  made  the  General  president. 
Dummy  Avas  a  great  epicure.  He  kept  bachelor  hall,  and 
took  the  Avorld  easy ;  he  invented  many  fancy  dishes.  tAvo 
in  particular,  Avhich  he  called  calapash  and  calapee. 
These  he  serA'ed  to  his  customers  at  his  eating  house  he 
called  the  Divan,  in  Dean  street,  in  this  city.  The  cala- 
pash Avas  made  of  ancient  cheese,  codfish,  onions,  mustard, 
rum  and  Avine.     The  calapee  was  the  same,  Avith  the  addi- 


180        General  Theatrical  Reminiscences. 

tion  of  cahhage.  Behind  the  bar  was  to  be  seen  hanging 
to  the  wall  the  "  identical  Richard's  dress  worn  by  George 
Frederick  Cooke,  the  great  tragedian ;"  but  this,  however, 
it  was  strongly  suspected,  was  one  of  Dummy's  innumei-- 
able  gags,  as  some  of  his  silver  leather  was  plainly  to  be 
seen  sewed  to  the  dress!  In  his  admirable  History  of  the 
American  Stage,  Mr.  Durang  tells  numerous  anecdotes 
of  Allen.  A  characteristic  anecdote,  showing  how  he 
served  up  turtle  soup  for  the  epicures  of  Albany,  may  be 
found  in  the  Annals  of  Albang,  vol.  v,  p.  276. 

Dummy  had  a  Avonderful  penchant  for  '*  running  up  a 
score"  among  his  acquaintances.  He  had  borrowed  a 
sum  of  money  from  an  old  friend  in  Green  street,  Avho 
dunned  Dummy  for  it  whenever  ho  met  him,  but  was  al- 
ways put  off  with  some  plausible  excuse — he  must  "  Avait 
for  his  benefit,"  or  for  something  else  to  "  turn  up,"  Avhen 
it  would  certainly  be  paid.  Passing  in  Green  street  one 
morning,  Dummy  on  one  side  and  his  creditor  on  the 
other  side,  opposite  Bement's  Recess,  the  creditor  hailed 
and  beckoned  to  Dummy  to  come  over  the  street.  It  was 
a  peculiar  trait  with  Dummy,  when  dunned,  to  feign  more 
than  his  usual  deafness.  "I  say,"  said  creditor,  "Mr. 
Allen,  can't  you  pay  that  little  score  now?"  Dummy,  in 
the  coolest  and  politest  manner  possible,  replied,  "Tank 
you,  tank  you,  I  nebber  takes  any  ding  (thing)  pefore 
preakfast!"  and  marched  on. 


CHAPTER  XXXII. 

Capt.  Page's  Circus. 

Capt.  Page  opened  a  circus  in  Beaver  street,  betAveen 
Green  and  South  Market  streets,  in  1829-30.  John  Simp- 
son kept  a  billiard  saloon  in  the  rear  of  the  circus.  At 
the  house  of  Simpson  many  a  sparring  exhibition  took 
place.  Jim  Sandford  and  Bill  Belong  taught  the  manly 
art  at  Simpson's.  Belong  is  still  living;  he  has  been  an 
officer  in  the  Fifth  Avard,  Philadelphia,  for  many  years, 
and  is  much  respected  by  all  political  parties,  as  a  worthy, 
upright  man.  Belong  was  an  excellent  boxer,  and  a 
splendidly  formed  man.  Sandford  was  a  small  man,  but 
as  tough  as  Sayers.  Among  the  fancy  at  Simpson's  was 
Harry  Webb,  a  Herculean  tigure  as  finely  put  together 
as  a  marble  statue,  and  heaven  protect  him  that  received 
a  fair  dose  of  Harry's  bunch  of  fives.  Then  there  was 
Harry  Jewell,  cousin  of  Joe,  now  the  superintendent 
of  the  Point  Breeze  Course,  Philadelphia.  Uncle  Joe  has 
fallen  off  some  in  weight — from  2T5  pounds  to  390  in  his 
dancing  pumps!  Charley  Low  and  Jewell  set  to  at  Simp- 
son's one  night.  Charley  received  a  tremendous  teller 
iVom  Jewell  over  the  "  conck."  Camphor  and  brandy  were 
in  active  demand  for  some  minutes  after  that. 

Capt.  Page's  company  Avent  on  a  tour  to  Lower  Canada. 
l\\  a  wooden  building,  situated  on  McGill  street,  Mon- 
treal, a  mob  nearly  tore  his  circus  down.  The  time-worn 
circus  play  of  Billy  Button,  the  Unfortunate  Tailor,  was 
the  sole  cause  of  the  riot.     At  that  time  there  were  hun- 


182        General  Theatrical  Reminiscences. 

dreds  of  Irish  tailors  in  Montreal,  and  tliey  imagined  the 
production  of  Billy  Button  was  an  insult  to  their  trade, 
and  all  connected  with  it.  The  enraged  tailors,  led  on 
by  Captain  DeGrady,  gave  the  fearful  war  cry.  Old  West 
had  just  entered  the  ring  in  the  character  of  Billy  But- 
ton, when  showers  of  brickbats  from  all  directions  greeted 
him.  The  war  then  began  in  good  earnest,  and  was 
kept  up  for  days  and  nights.  The  contending  parties, 
the  tailors  and  the  Billy  Buttonites,  contested  every  inch 
of  ground.  Button  met  the  foe,  and  they  were  his.  The 
tailors  got  awfully  beaten  by  the  Canucks,  who  were  fnr- 
nished  by  the  citizens  with  ammunition.  Barrels  of  rum, 
with  their  heads  knocked  in,  were  swallowed  in  less  than 
no  time.  By  the  friends  of  Button  these  barrels  were 
placed  in  the  centre  of  McGrill  street.  Several  persons 
Avere  killed,  among  the  number  a  Mr.  Lyman,  a  very  esti- 
mable citizen.  The  military  were  finally  called  out  and 
peace  and  quiet  restored.  The  circus  embarked  for  Que- 
bec, where  the  riot  was  renewed  with  redoubled  fury,  but 
the  military  being  on  the  alert  it  was  promptly  put  down. 
A  number  of  the  rioters  were  transported,  and  Billy  But- 
ton was  transported,  but  with  joy  ! 


Page's  Dramatic  Company. 

Page  had  a  fair  theatrical  comi)any  with  his  circus.  It 
consisted  of  Harry  Knight,  Wells  and  sister,  afterwards 
John  Sefton's  wife,  and  later  Mrs.  Russell,  the  great  tragic 
actress  of  the  Arch  Street  Theatre,  Piiiladelphia,  Miss 
Emery,  George  Gale  (Mazeppa),  Tom  Grierson,  Shin- 
notti,  Barney  Burnes,  Leslie,  Shadgut  (what  a  name!), 
John  Kent  and  his  sisters,  Helen  and  Eliza,  and  many 
otiiers.  Page  opened  the  Theatre  Royal,  Montreal,  and 
went  by  the  l>oard.  I  believe  this  company  are  all  dead, 
with  perhaps  tliree  or  four  exceptions.  Page  knew  no 
such    word   as  fail.     He   visited  every  part  of  the  globe 


General  Theatrical  Reminiscences.        183 

that  white  men  have  seen.  He  searched  tlie  jungles  of 
the  East  Indies  for  show  stock.  He  penetrated  the 
regions  of  scorching  Africa,  searched  all  the  fairs  of 
Europe,  and  furnished  for  the  American  market  more 
"what  is  it"  in  the  shape  of  giants,  red-eyed  negroes, 
glass  spinners,  and  other  sights  too  numerous  to  speak 
of,  than  any  other  showman,  not  excepting  P.  T.  Bar- 
num.  The  last  I  saw  of  the  captain  was  in  Philadel- 
phia, and  he  Avas  far  advanced  in  the  "  sere  and  yellow 
leaf."  He  had  just  returned  from  South  America  with  the 
Aztec  children,  and  was  on  his  way  to  Europe.  The  cap- 
tain was  a  Yankee,  had  great  knowledge  of  the  world, 
could  speak  several  languages,  was  full  of  enterprise,  but 
dame  fortune  seldom  smiled  upon  him. 

The  following  a]Dpeared  in  one  of  the  Albany  papers  in 
1857:  "J.  W.  Bancker,  formerly  Master  Bancker,  of  the 
North  Pearl  Street  Circus,  called  on  us  yesterday,  and 
posted  us  up  in  a  few  reminiscences.  Bancker  first  rode 
in  this  city  in  1823,  in  a  circus  located  on  the  corner  of 
Eairle  and  State  streets.  The  North  Pearl  Street  Circus 
opened  in  1826.  Bancker  belonged  to  the  first  company, 
and  rode  the  first  horse  and  threw  the  first  sommersault 
in  the  house.  The  company  consisted  of  the  following 
persons:  Manager,  Sam.  Parsons;  Treasurer,  Edward 
Tucker;  Assistant  Manager,  Sam.  McCracken;  Clown, 
William  Gates;  Riding  Master,  J.  W.  Bancker;  Riders, 
Dan.  Champlin,  Jacob  Burton,  Edward  Carter,  Alexander 
Downie  and  John  Shay.  Miss  Mary  Robinson  was  the 
leading  melo-dramatic  actress.  Miss  R.  was  a  very  tal- 
ented woman,  and  played  her  parts  with  great  power. 
Downie  died  in  tlie  West  Indies.  Gates  attached  himself 
to  the  Bowery  Theatre,  and  died  in  New  York  in  1843. 
Champlin  died  in  Mobile.  Burton  joined  the  army,  and 
died  in  Florida.  Carter  is  also  dead.  McCracken  died  in 
Springfield,  Ohio;  he  married  a  Miss  Brown,  Avho  lived 
opposite  the  circus,  in  North  Pearl  street.     Of  the  com- 


184        General  Theatrical  Reminlscences. 

pany  existing  in  1826,  Bancker  is  the  only  one  living. 
The  North  Pearl  Street  Circus  was  built  bv  Sam.  Parsons, 
and  cost  $22,000,  horses  included.  It  failed  to  pay  in 
1829,  and  then  passed  into  the  hands  of  S.  J.  Penniman. 
Mr.  Penniman  sold  it  to  the  Methodists,  who  have  since 
used  it  as  a  church." 


CHAPTER  XXXIII. 

Jim  Bancker— John  G-ossin,  the  Clown. 

Jim  Bancker  opened  a  circus,  in  1831,  on  the  same  spot 
in  Beaver  street  that  Page  had  occupied,  with  a  very  good 
company.  Among  the  performers  was  a  young  man  by 
the  name  of  John  Weaver,  Herculean  in  appearance,  beau- 
tifully formed,  and  called  the  American  Sampson.  He 
performed  some  astonishing  feats  of  strength.  A  native 
of  Philadelphia,  he  was  much  respected  for  his  amiable 
disposition  and  kindness  of  heart.  He  had  become  en- 
gaged to  a  young  lady  of  Philadelphia,  and  was  to  aban- 
don his  profession  forever  the  following  fall,  and  marry  a 
young  and  beautiful  wife.  The  company  started  on  its 
tour.  At  that  day  in  some  of  the  Western  towns  there 
was  great  difficulty  in  procuring  a  license.  There  ap- 
peared to  be  a  very  bitter  antipathy  by  the  religious  com- 
munity to  such  amusements — the  exercise  of  horsemanship 
being  considered  demoralizing  and  a  sin  !  Many  lawsuits 
were  the  result,  but  the  circus  non-suited  the  citizens. 
In  some  instances  the  commonwealth  contrived  to  con- 
vince the  jury  that  these  wicked  shows  were  prompted 
by  the  devil,  and  a  mist  was  cast  before  the  eyes  of  the 
audience  by  the  incantations  of  the  showman.  The  stand- 
ing on  a  horse,  when  at  full  speed,  was  deemed  by  them 
a  base  deception — a  load-stone  being  used,  they  said,  to 
make  the  man  stick  to  his  back!  The  clown  was  one 
of  the  devil's  imps,  etcetera;  but  the  disciples  of  blue  laws 
failed  to  C(nivince  the  jury.     Theatricals  fared  no  better  in 


186        Gexekal  Theatrical  Reminiscences. 

some  of  these  benighted  regions.  Banckers  company 
made  a  halt  at  a  small  village  for  two  days.  AVitchcraft 
and  law-breaking  Avere  charged  against  the  unfortunate 
performers.  Weaver  was  about  to  be  aj-rested,  but  not 
wishing  to  be  detained  on  the  eve  of  embarking  home- 
ward to  Philadelphia,  he  made  his  escape,  with  the  inten- 
tion of  proceeding  to  the  next  county,  where  he  could  be 
safe;  but  the  night  being  dark  and  rainy,  he  lost  his  way 
ill  the  woods — becoming  bewildered,  he  Avas  not  found  for 
two  days.  The  Aveather  being  cold  and  Weaver  thinly 
clad,  he  took  a  violent  cold,  which  developed  into  bilious 
fever,  and  in  a  few  days  after  he  died  at  Fort  Niagara,  and 
was  buried  in  an  old  church-yard  on  the  banks  of  Lake 
Ontario. 


Tail's  G-reat  Feat— A  Fearful  Dilemma. 

John  Gossin,  about  this  time,  joined  Bancker's  troupe 
in  Little  York,  L^pper  Canada.  John  Avas  a  native  of 
Pittsburgh,  Pa.  In  this  company  Avas  also  a  person  by 
the  name  of  Vail,  a  poAverful  man,  and  a  native  of  Mans- 
field, Ohio.  He  Avas  the  successor  of  Weaver  in  feats  of 
strength.  His  early  days  Avere  occupied  as  a  boatman  on 
the  Western  rivers,  and  he  had  had  many  hairbreadth  es- 
capes from  death.  He  ])erformed  his  feats  on  a  pole  that 
supported  the  large  pavilion.  It  Avas  croAvded  one  )iight 
in  a  toAvn  in  Indiana,  Avhen  Vail  Avas  suspended  by  his 
knees  to  the  pole,  some  ten  feet  aboA-e  the  ground ;  in  his 
hands  he  held  tAvo  anvils,  and  by  his  teeth  he  held  several 
fifty-six  pound  Aveights.  At  this  moment  one  of  those 
fearful  tornadoes  that  Ave  so  often  hear  of  in  the  Avest, 
' suddenly  came  up;  the  pavilion  Avas  blown  to  atoms,  the 
seats  fell  Avith  a  fearful  crash,  the  hoAvling  of  the  Avind 
and  the  screams  of  Avomcn  and  children,  Avere  terrible. 
The  Y)o\o  on  Avhicli  Vail  Avas  suspended  broke,  and  he 
fell,   Avith    the   great   weiglit   of   iron    he   Avas   grasping, 


General  Theatrical  Remixiscexces.         187 

head  foremost  to  the  ground.  He  Avas  picked  np  for 
dead  among  the  mass  of  Aveiglits,  but  tliough  badly  in- 
jured, he  survived  his  fearful  fall.  A  number  of  persons 
■were  killed.  Vail  had  a  fortunate  escape  from  death  dur- 
ing an  earthquake  at  ^Martinique,  in  the  AYest  Indies. 
The  sides  of  the  house  that  he  occupied  fell  outwards,  just 
as  he  was  in  the  act  of  leaping  from  one  of  the  win- 
dows. He  fell  safely  in  the  street,  the  window  frame 
pa.^ung  over  his  head  and  shoulders!  So  close  was  he  to 
the  falling  mass  that  his  foot  became  entangled  in  the 
falling  beams,  and  drew  the  boot  from  his  lesf,  as  he 
said,  with  a  patent  boot-jack!  After  this  occurrence  he 
Avas  shipwrecked.  He  abandoned  the  profession,  and  be- 
came very  wealthy  at  one  of  the  AVest  India  islands — Port 
Royal.  He  married  a  quadroon,  as  rich  as  Crcesus,  and 
as  lovely  as  a  sunflower,  and  is  now  located  at  Yankee 
Station,  California,  and  is  known  as  Squire  Vail,  Justice 
of  the  Peace. 

Young  Calahan  also  amused  the  Albanians  Avith  his 
elegant  and  superb  horsemanship.  He  Av^as  a  natiA-e  of 
the  city  of  Ncav  York.  Most  of  his  days  Avere  passed  in 
Mexico  and  South  America.     Calahan  died  in  Xcav  York. 

Joe  Blackburn  also  performed  on  the  Beaver  street  lot. 
Blackl)urn  Avas  the  clown  of  the  American  arena.  He  was 
a  man  of  extraordinary  ability;  possessed  a  good  edu- 
cation, and  figured  as  a  poet  of  no  ordinary  pretensions. 
His  letters  from  Europe,  published  in  the  Ncav  York 
Spirit  of  the  Times,  and  other  popular  journals  of  the 
day,  Avere  perused  Avitli  much  interest.  Blackburn  was  a 
Baltimorean.  His  uncle  left  htm  his  entire  fortune;  but, 
poor  fellow,  Avhile  on  his  Avay  from  IS'ew  Orleans  to  Balti- 
more, in  1841,  to  inherit  his  Avealth,  he  sickened  and  died 
on  board  the  steamer  Express  Mail,  near  Horse  Shoe  Bend, 
and  Avas  buried  at  Memphis,  Tenn. 


CHAPTER  XXXIV. 

"Nosey"  Phillips. 

The  old  Xorth  Pearl  Street  Amphitheatre  began  to  give 
up  the  ghost  about  the  year  1828.  Nosey  Phillips  tried 
his  hand  in  tliis  place  as  well  as  at  the  South  Pearl  Street 
Theatre.  Like  all  other  projects  that  Nosey  undertook, 
somebody  was  the  sufferer,  for  he  was  a  mad  wag.  • 
His  style  of  financiering  was  peculiar  to  himself.  He 
was  the  sole  author  and  inventor  of  many  shrewd 
and  curious  dodges.  Moses — that  was  his  Christian 
name  —  procured  an  excellent  company  from  New 
York,  and  opened  a  theatre  in  Providence,  R.  I. 
AVith  the  aid  of  Providence  he  pocketed  quite 
a  sum.  He  owed  several  small  scores  to  the  inhabitants, 
as  well  as  the  actors,  but  promised  that  all  bills  against 
him  should  be  liquidated  on  Monday,  without  fail.  The 
bills  of  the  day  were  issued,  the  lamps  all  trimmed, 
the  actors  all  up  in  their  parts,  and  sundry  creditors 
awaited  the  important  moment;  but  the  eagle-eyed,  as 
well  as  eagle-nosed  Nosey,  had  fled  to  New  York  with  all 
the  rocks  in  his  fob!  Arriving  in  that  city,  he  had  no 
difficulty  in  finding  an  old  sufferer  to  whom  he  owed 
a  long  standing  bill.  Nosey,  knoAving  that  in  a  few 
hours  he  would  be  seized  for  debt  and  placed  in  du- 
rance vile,  (there  was  a  law  for  imprisonment  for  debt 
in  those  days,)  induced  said  old  sufferer  to  sue  him. 
This  he  did.  Nosey  acknowledged  the  debt  and  was 
committed  to  jjiil.  The  enraged  creditors  from  Ilhode 
Island  arrived  only  to  be  disappointed;  Nosey  was  already 


Gexekal  Theatrical  Reminiscences.         189 

cao-ed  for  debt.     In  a  few  davs  all  excitement  had  sub- 
sided,   Nosey    settled    the   score   with   his  lucky  friend, 
and  once  more   he  buckled  on  his   armor  for   fresh   ad- 
ventures.    Cincinnati  was  the  scene  of  many  of  Nosey's 
jokes.     Here  he  enlivened  the  audience  of  Fog  &  Stickney's 
Circus  by  enacting  the  clown  in  a  time  worn  scene  called 
the  Peascmfs  Frolic.    Nosey  was  astride  a  beautiful  black 
horse  telling  some  stereotyped  Joe  Millers,  when  all  of  a 
sudden  the  horse  flew  around  the  ring  as  if  a  sky-rocket 
was  fast  to  his  tail.     The  ring  master  could  not  stop  him, 
Nosey's  lungs  were  brought  into  requisition — he  appealed 
to  the  man  with  the  whip,  at  tlie  top  of  his  voice,  "  Stop 
him,  for  God's  sake !"     "  A  good  joke,"  says  the  ring  mas- 
ter.    "  Go  it.  Nosey,"  yelled  the  boys.     Nosey  went  it  loose, 
heels  over  head  into  the  pit,  striking  an  honest  Jack  tar 
in  the  eye  with  his  hand.     Nosey's  skull  cap  and  a  small 
portion  of  his  scalp  were  missing.     The  sailor  was  enraged 
to  find  his  eye  blackened.     "  Well,"  says  Jack,  "  that  fel- 
low with  a  big  handle  on  his  mug  is  the  d — m'st  wust  clown 
I  ever  did  see."     Nosey  left  the  ring  as  soon  as  po^fesible,  as 
his  tiffhts  had  come  down.     A  law  suit  Avas  the  result; 
but  the  ring  master  declared  it  was  a  joke,  and,  besides, 
that  he  could  not  stop  the  horse.     Nosey  was  accordingly 
non-suited. 

His  grand  wind  up,  however,  took  place  in  New  Orleans, 
in  1842.  Caldwell,  manager  of  the  St.  Charles  Theatre, 
despatched  an  agent  to  New  York  with  full  power  to 
engage  the  best  talent  to  be  found,  and  in  particular  to 
engage  Aaron  Phillips — who  was  a  good  actor  and  a  worthy 
man — for  his  prompter.  Caldwell's  agent  being  a  stranger 
in  the  capacity  of  theatrical  negotiator,  committed  a  sad 
mistake.  He  Avrote  a  note,  directing  the  same  to  Mr. 
Phillips,  comedian.  Nosey's  hawk-eye  discovered  the  let- 
ter and  received  the  contents  with  unspeakable  joy,  but 
mum  was  the  word.  He  certainly  was  Mr.  Phillips,  come- 
dian, and  was  a  prompter.     The  agent  never  was  instructed 


190        General  Theatrical  Reminiscences. 

to  engage  any  other  person  for  prompter  but  Mr.  Phillips, 
hence  the  mistake.  Nosey  Avas  placed  under  binding  arti- 
cles of  agreemen  t,  luhich  he  signed.  The  otlier  party  agreed 
to  give  said  Phillips  the  sum  of  $30  per  week,  and  a  benefit 
ut  the  expiration  of  six  months.  What  was  the  surprise 
of  Caldwell,  the  actors,  and  everybody,  when  the  immortal 
Nosey  arrived  in  New  Orleans!  Caldwell  was  in  for  it. 
Nosey  was  sent  to  Mobile,  but  he  got  all  the  agreement 
called  for. 

Phillips'  name  stands  in  Scott's  Albany  Directory  of  1828, 
as  "Nosey."  He  was  one  of  the  children  of  Israel.  Phil- 
lips and  old  "Jack  Barnes,"  the  low  comedian  of  the  Park 
Theatre,  New  York,  used  to  play  the  "  Two  Dromios,"  and 
most  decidedly  resembled  each  other  in  features,  figures, 
and  voice.  Barnes'  nose  was  not  quite  as  prominent  and 
"  hookey"  as  Nosey's  nose,  but  by  the  application  of  a  lit- 
tle 2i)ax,  the  difference  was  scarcely  noticeable,  especially 
by  those  not  personally  acquainted  with  this  peculiarity." 

The  last  days  of  the  North  Pearl  Street  Amphitheatre 
was  ratha-  an  up  hill  business.  Isaac  0.  Davis  was  manager, 
I  believe.  At  the  grand  finale,  old  Turnbull,  father  of 
Julia  the  danseuse,  produced  an  abolition  drama,  fall  of 
woolly-headism.  I  have  forgotten  the  name  of  the  piece. 
It  was  quite  affecting,  however;  the  author  himself  cried 
in  some  of  the  most  tender  points.     It  had  a  fine  run  of 

one  evening!     For  some  cause  or  other  the  manager 

on  the  next  evening  Avas  obliged,  as  he  said,  to  dismiss  the 
audience  in  consequence  of  some  of  the  artists  rebelling 
and  refusing  to  play.  While  the  manager  Avas  making 
this  moving  speech  the  ticket  seller  smelt  a  good  sized  rat, 
and  there  being  just  $18  due  him,  he  blew  out  the  lights 
in  the  office  and  vamosed  Avith  all  the  funds,  $18— all  in 
small  change.  The  manager  threw  himself  upon  the  kind 
indulgence  of  the  audience,  and  informed  them  that  they 
could  step  to  the  box  office  and  have  the  money  refunded 
them !     The  ticket  seller  Avas  non  est,  and  a  free  fight  Avas 


General  Theatrical  Reminiscences.       191 

the  result.  The  chandelier  was  broken,  as  well  as  the 
manager,  who  made  his  escape  through  a  sewer!  The 
scene  ended  by  old  John  Meigs,  high  constable,  and  his 
posse  capturing  some  dozen  canalers  and  two  soldiers  from 
the  rendezvous.  The  old  theatre  soon  wound  up  its  event- 
ful career. 


CHAPTER  XXXV. 

The  history  of  the  Albany  theatre,  as  will  have  been 
seen,  is  a  significant  history  of  the  conversion  of  play 
houses  into  churches  —  the  only  three  edifices  erected  ex- 
pressly for  dramatic  purposes  having  had  a  very  short  ca- 
reer as  such,  and  then  their  walls  echoed  with  a  different 
class  of  sounds.  Even  the  wooden  building  erected  in  Or- 
chard street,  by  the  Histrionic  Society,  was  converted  into 
a  Baptist  church. 

Bill  Lawsou  was  engaged  here  about  this  time.  Lawson 
is  spoken  of  in  Durang's  History  of  the  Stage.  He  came 
to  the  United  States  with  \Yest,  the  bell  ringer.  Lawsun 
was  a  fine  looking  man.  Thougli  he  could  neither  read  nor 
Avrite,  he  could  play  the  part  of  a  sailor  in  excellent  style. 
His  Mat  Mizzen  was  the  best  ever  produced  on  the  Ameri- 
can stage  in  that  day.  He  played  Joe  Steadfast,  in  the 
Turnpike  Gate,  equally  well.  Joe  was  the  first  victim  to 
the  cholera  in  the  summer  of  1832 ;  he  died  in  New  York 
in  a  wretched  cellar  in  Catharine  street.  Near  the  same  lo- 
cality, and  etiually  as  miserable,  }.Iiss  Emery,  the  great 
English  tragic  actress,  died.  Her  acting  of  Bianca  was  a 
most  thrilling  picture.  Her  untimely  end  Avas  much 
regretted. 

Yankee  Hill  (George)  Avas  a  natiA'e  of  New  England. 
His  father  Avas  a  teacher  of  music,  tuned  pianos,  &c.,  in 
Philadelphia,  for  many  years;  he  Avas  A'ery  poor,  but 
struggling  hard  tlirough  life,  managed  to  gain  a  livelihood. 
George,  or  Yankee  Hill,  Avas  a  paper  hanger  by  trade,  and 
worked  for  a  long  time  in  Albany. 


General  Theatrical  liEMixiscEXCES.         193 

Dan  Marble,  the  Yankee. 

As  I  iim  speaking-  of  Yankee  characters,  I  will  say  a  few 
words  of  the  lamented  Dan  Marble.  I  think  he  was  born 
in  New  York.  He  made  his  first  appearance  at  the  old 
Chatham,  in  the  farce  of  "  Fortune's  Frolic,"  playing  Eobin 
Roughead.  He  was  greatly  annoyed  with  the  toothache 
that  night,  and  what,  with  the  pain  of  the  tooth  and  the  first 
smell  of  the  foot  lights,  the  gaze  of  the  fiddlers,  and  a  view  of 
the  audience,  he  was  at  first  quite  bewildered.  He  finally 
frightened  the  toothache  away  and  played  the  part  as  well 
as  if  he  had  been  an  old  stager.  Dan  was  full  of  fun ;  he 
told  many  original  stories  that  Avould  draw  a  laugh  from 
the  ghost  of  old  Job  Gould.  He  Avas  an  excellent  come- 
dian, and  an  immense  favorite  wherever  he  went.  He  died 
in  Louisville,  Ky.  His  "  benefit"  was  to  have  taken  place 
the  night  he  died.  The  bill  read  as  follows:  "Benefit 
and  last  aj^pearance  of  Dan  Marble.  This  evening  will 
be  presented  *  Cure  for  the  Cholera !' "  Poor  Dan  died 
of  cholera  on  the  same  night ! 
13 


CHAPTER  XXXYI. 

Nichols'  Amphitheatre. 

Probably  one  of  the  largest  and  best  appointed  Circuses 
or  Amphitheatres  ever  organized  in  tliis  country,  was 
that  of  Sam.  Nichols,  on  Dallius  street,  in  this  city,  Avhich 
was  opened  December  5,  1840.  Alfred  B.  Street,  Esq., 
Avrote  the  opening  address  (a  #50  prize  essay),  which  was 
pronounced  an  admirable  production.  The  building  cov- 
ered over  an  acre  of  ground,  was  fitted  up  on  a  most 
elegant  and  elaborate  scale,  and  would  comfortably  accom- 
modate three  thousand  persons.  The  dramatic  and  eques- 
trian troupes  were  ample,  composed  of  the  very  best  per- 
formers in  the  country.  These  companies  consisted  in 
part,  of  the  following:  Jackson,  manager;  Anderson,  Hall, 
Plumer,  the  celebrated  vocalist ;  Dickinson,  Needham, 
Hardy,  Mrs.  Nichols,  Mrs.  M.  Anderson,  playing  juvenile 
nnile  characters.  The  equestrian  troupe  was  com])osed  of 
the  following:  Aymar,  John  Whitaker,  Henry  Madigan, 
William  Nichols,  Horace  Nichols,  wiio  married  Mrs.  Pres- 
ton, Jolm  May,  John  Gossin,  George  Knap]>,  clowns. 

The  celebrated  Kent  bugle  player,  Ned  Kendall,  and  his 
splendid  band,  comprised  the  orchestra.  The  spectacles, 
such  as  El  Hyder,  St.  George  and  the  Dragon,  &c.,  pro- 
duced, were  magnificent,  and  gotten  up  regardless  of  ex- 
pense. This  establishment  was  liberally  patronized  not 
only  by  the  Albany  public,  but  by  Trojans  and  strangers 
generally.  It  was  not  a  little  surprising  to  witness  the 
large  numbei's  of  the  upper  class  of  society,  that  nightly 
graced  the  boxes ;  and  it  was  not  unfrequently  the  case  that 


Gf^NERAL  Theatrical  Remixiscences.         195 

a  line  of  carnages  would  occupy  the  street  from  L^'dius, 
now  Madison  avenue,  to  the  amphitheatre.  For  the  two 
first  years  this  enterprise  proved  a  great  success,  after 
which  an  evident  decline  was  noticeable.  Finally  the 
equestrian  department  was  withdrawn,  leaving  only  a  dra- 
matic company,  under  the  management  of  Jackson,  who 
was  familiarlv  called  "  Black  Jack."  Near  the  winding 
up  of  the  concern,  Forrest  and  the  "magnificent"  Jose- 
phine Clifton  performed  a  week's  engagement,  but  the 
weather  being  intensely  warm  the  attendance  was  very 
light.  It  was  during  the  "  heated  spell "  in  July  or  Au- 
gust, they  appeared.  This  establishment,  like  the  old 
Green  Street  Theatre,  at  last  came  to  "  base  purposes,"  be- 
ing converted  into  a  furnace  or  pottery !  The  dramatic 
and  equestrian  companies,  as  well  as  the  magnificent  the- 
atres and  amphitheatres  that  Albany  could  once  boast  of, 
could  not  be  equaled  by  any  city  of  its  size  in  either  hem- 
isphere—  a  fact  which  has  been  frequently  admitted  by 
old  and  experienced  stagers  from  Europe  who  have  ap- 
peared in  our  theatres  and  amphitheatres  from  time  to 
time. 


CHAPTER   XXXVII. 

Paddy  Burns  and  His  Bugle. 

In  tlie  orchestra  of  the  North  Pearl  Street  Amphithea- 
tre, was  to  be  seen  and  heard  a  remarkable  personage — his 
name  was  Paddy  Burns,  and  he  was  one  of  the  best  Kent 
buglers  of  that  day.  Paddy,  of  course,  was  a  son  of  the 
Emerald  Isle;  he  was  in  tlie  British  service  most  of  his 
days,  and  his  regiment  was  stationed  opposite  Fort  Niagara, 
Canada, 

Paddy  had  made  up  liis  mind  "solid,"  as  he  said,  to 
Yayiheeize  himself.  Uncle  Sam's  dominions  were  on  the 
opposite  side  of  the  Niagara  river,  only  some  nine  or  ten 
miles  below  Niagara  Falls.  Burns  w'as  suspicioned.  and 
consequently  was  watchod  so  closely  that  an  attempt 
to  escape  was  a  dangerous  experiment;  but  he  tried  it  and 
succeeded.  One  fine  morning  Puddv  held  an  innocent 
confab  with  the  sentinel,  whose  station  was  near  the  bank 
of  the  river.  A  few  drops  of  the  "crathur"  cemented  the 
bonds  of  friendship  closer  than  wax  ;  the  sentinel  got 
three  sheets  in  the  wdnd,  while  Paddy  Burns  was  as  sober 
as  a  judge.  He  managed,  unperceived,  to  pour  some  of  the 
liquor  into  the  vigilant  soldier's  gun.  Paddy  then  re- 
tired from  the  ])resence  of  his  friend,  behind  a  rock,  tied 
his  bugle  on  his  neck,  plunged  in  the  river,  and  had 
swam  a  great  distance  from  the  shore  before  he  was  dis- 
covered. The  alarm  was  given,  the  sentinel's  gun  flashed 
iu  the  pan,  and  Paddy  arrived  safe  in   tlie  '•  land  of  the 


General  Theatrical  Rejiixlscexces.         197 

free  and  tlie  home  of  the  brave,"  amid  the  loud  huzzas  of 
the  spectators  on  the  American  shore,  who  had  watched 
the  proceedings  with  the  most  intense  anxiety.  Burns 
then  mounted  a  high  elevation  and  played  Yankee  Doodle 
and  Hail  Columbia  in  the  very  teeth  of  John  Bull! 
"  Paddy  "  was  liked  by  all  who  knew  him.  He  died  in 
Ohio.  At  the  temporary  building  on  the  corner  of  Green 
and  Division  streets  (old  Biven's  Theatre),  Mr.  and  Mrs. 
H.  A.  Williams  played.  They  were  both  eminent  perform- 
ers. Mrs.  Williams,  after  Harry's  death,  married  May- 
wood,  the  Scotch  actor.  There  was  an  actor,  an  Eng- 
lishman named  Eussell,  who  performed  here;  he  had 
no  fear  of  strychnine;  he  was  never  seen  sober,  and  he 
became  completely  acclimated  to  the  hissing  Y)rocess.  Eus- 
sell was  famous  for  addressing  the  andience;  he  made 
apologies  every  night.  Mrs.  Williams  was  playing  "Jane 
Shore;"  Eussell  Avas  to  kneel  over  the  dead  body  in  the 
last  scene,  but  being  "  top  heavy,"  he  fell  Avith  all  his 
Aveight  on  the  corpse  of  Jane  Shore.  This  brought  the 
dead  Shore  to  her  feet.  Eussell,  as  usual,  attempted  an 
apology.  Stale  eggs  Avent  up  from  ten  cents  per  dozen  to 
81.50.     Eussell  made  a  stampede ! 

Mr.  Forrest's  Letter. 

The  folloAving  is  a  copy  of  a  letter  from  Mr.  Forrest, 
Avhile  fulliling  a  professional  engagement  at  Crosby's 
Opera  House,  Chicago,  acknoAvledging  the  receipt  of 
copies  of  Theatrical  Eeminiscences  occasionally  published 
by  us  in  the  Morninrj  Express : 

'-  Chicago,  Jan.  25,  1866. 
"  Hexry  D.  Stoxe,  Esq. — 

"  Dear  Sir — The  seA'eral  copies  of  Theatrical  Eemini- 
scences, handed  me  by  your  young  friend,  Avere  received 
with  much  satisfaction.    The  perusal  of  them  afforded  me 


198        General  Theatrical  Reminiscences. 

great  pleasure,  as  they  brought  vividly  to  mind  scenes 
long  since  blotted  from  memory.  I  find,  too,  the  facts 
and  incidents  set  forth  remarkably  correct,  as  far  as  my 
recollection  serves  me.  Thanking  vou  for  vour  manv 
kind  considerations, 

"  Believe  me,  as  ever, 

"Yours.  &c., 

"EDWIN  FORREST." 


CHAPTER   XXXVIII. 

John  Augustus  Stone,  the  American  Dramatic 

Author. 

At  the  time  of  the  death  of  this  eminent  author  and 
actor,  which  occurred  in  Philadelphia,  in  1834,  the  follow- 
ing affecting  tribute  appeared  in  the  Alhany  Daily  News. 
The  News  was  edited  by  James  Hunter,  Esq..  one  of  Edwin 
Forrest's  warmest  friends,  and  Avho  devoted  much  of  his 
time  closeted  with  young  Forrest,  instructing  him  in 
Shakspeare — imparting  to  him  that  knowledge  of  the  great 
dramatic  poet  which  was  the  result  of  long  and  ripe  ex- 
perience. Mr.  Hunter  was  one  of  the  most  experienced 
theati.'ical  critics  in  this  country. 

"Death  of  John"  Augustus  Stoxe. — Within  a  few 
days  past  the  public  has  been  made  acquainted  with  the 
melancholy  fact  that  John  Augustus  Stone  is  no  more! 
The  tidino's  were  received  in  this  city  with  unfeigned  re- 
gret,  and  the  friends  of  the  drama  who  knew  him  so  Avell 
when  living,  at  the  first  intelligence  of  his  departure  from 
among  us,  retired,  with  melting  hearts,  to  shed  the  bitter 
tears  of  sorrow.  The  news  of  his  exit  cast  a  solemnity 
and  gloom  over  the  countenances  of  a  large  circle  of  his 
acquaintances  in  our  city,  far  surpassing  any  providential 
affliction  of  the  kind  that  ever  preceded  it.  The  success- 
ful effort  of  Mr.  Stone  to  elevate  and  establish  permanently 


200        General  Theatrical  Reminiscences. 

the  dramatic  character  of  our  country,  Avill  ever  be  remem- 
bered. 

"  Under  the  patronage  of  Forrest,  Mr.  Stone  has  con- 
tributed more,  both  as  autlior  and  performer,  to  raise  the 
character  of  the  stage,  than  any  other  native  American. 
He  was  the  author  of  several  pieces  which  have  withstood 
the  scrutiny  of  the  severest  critics  and  rivals  in  the 
country.  Among  those  which  have  been  thus  produced 
by  him  and  passed  through  the  fiery  ordeal,  are  these  : — 

" 'Fauntleroy  ;'  tragedy;  acted  in  Charleston.  '  Meta- 
mora ; '  tragedy ;  acted  in  New  York  with  great  success. 
[Edwin  Forrest  paid  the  author  8500  for  this  play.]  '  La 
Rogue  the  Regicide  ; '  acted  in  Charleston.  '  The  Demo- 
niac,' 'Tancred,'  '  Touretoun,'  'The  Restoration,  or  the 
'Diamond  Cross" — all  pieces  of  distinguished  merit. 
'  Banker  of  Rouen,'  and  '  Golden  Fleece,'  or  <  The  Yankee 
in  Italy,'  (written  for  Hill.)  At  the  time  of  his  death,  he 
was  engaged  in  superintending  the  production  of  the 
'  Champion  of  Freedom,^  which  he  re-wrote  from  the  An- 
cient Briton. 

"■  Althougli  we  lament  the  loss,  and  sincerely  repine  at 
his  sudden  death,  yet  we  rejoice  that  he  lived  to  bequeath 
such  a  lasting  legacy  to  his  country's  fame.  He  has  ac- 
quitted himself  with  the  highest  honor,  and  performed 
the  task  which  was  allotted  him  witli  immortal  credit. 
Years  may  elapse  before  another  shall  grasp  his  gifted  pen ; 
and  then  it  will  oulv  be  a  continuation  of  the  great  dra- 
raatic  work  which  John  Augustus  Stone  commenced. 

"  Peace  be  with  him  ;  his  earthly 
Light  is  now  extinguished  ; 
May  his  friends  weed  the  green  grass 
"Which  waves  o'er  his  grave  ;  and  his 
Enemies  point  in  silence  to  his  Tomb." 

To  our  own  knowledge  it  was  the  declared  intention  of 
Mr.  Forrest  to  erect  a  suitable  monument  to  the  mem- 


Gexeral  Theatrical  Keminiscexces.        201 

ory  of  Ml-.  Stone.  In  fact,  the  preliminary  steps  were 
well  advanced  soon  after  the  great  author's  death,  but 
whether  the  object  was  ever  entirely  accomplished,  we  have 
not  been  advised.  There  can  be  no  doubt,  however,  but 
Mr.  Forrest  carried  out  this  praiseworthy  object  to  the 
very  letter. 


CHAPTER  XXXIX. 

DRAMATIC    PRODIGIES. 

Master  Payne, 

The  First  Dramatic  Prodigy  in  this  Country — He  Plays  Kolla 
WHEN  A  Mere  Child — Laughable  Anecdote  about  his  play- 
ing ROLLA — Miss  J.  M.  Davenport,  now  Mrs.  F.  W.  Lander 
— Miss  Louise  Lane,  now  Mrs.  Drew,  Manageress  of  the 
Philadelphia  Arch  Street  Theatre  —  Clara  Fisher,  now 
Mrs.  Maedar— Maggy  Mitchell— Lucille  Western— Mary 
Gannon — Susan  and  Kate  Denin — The  Misses  Parkers — 
Little  Nell,  and  a  host  of  other  Prodigies. 

About  the  first  dramatic  prodig}'-  known  in  America, 
was  Master  Payne,  who  appeared  at  Wood  and  Warren's 
Theatre,  Phihidelphia,  in  180G.  In  "  Wood's  Kecollections 
of  the  Stage,"  lie  refers  to  Payne  as  follows :  "  He  a,p- 
peared  at  tiuit  time  as  Young  Norval,  being  about  the  age 
of  Master  Burke  when  he  first  came  out  as  a  prodigy. 
Nerval  was  followed  ])y  Hamlet,  Romeo,  Octavian,  and 
Rolla,  nightly  playing,  ou  au  average,  to  ^1,600  houses." 

Some  very  ridiculous  circumstances  attended  Master 
Payne's  performances  Avhich,  from  his  child-like  figure,  a 
physical  absurdity  could  not  fail  to  strike  an  unsophisti- 
cated auditor. 

A  learned  judge,  who,  when  crowded  out  of  the  boxes 
'by  the  ladies,  sought  refuge  in  the  gallery,  related  the  fol- 
lowing :  **  Master  Pavne  was  enacting  Rolla  while  a  knot 
of  youngsters  were  sitting  together,  some  of  whom  were 
not  particularly  interested  in  what  was  going  on  before 
them.     They  were  coming  to  the  scene  in  which  Rolla 


General  Theatkical  Keminiscexces.       203 

seizes  the  child  of  Cora,  wlio,  in  Master  Payne's  instance, 
happened  to  be  nearly  as  large  as  Payne  himself,  and  runs 
across  the  bridge  with  him,  (a  very  effective  scene  Avhere 
the  Rolla  is  a  large  and  powerful  man) — one  of  these 
youngsters  called  his  companions  to  order,  and  as  an  in- 
ducement to  them  to  stop  their  talking,  said,  "  Now,  boys ! 
look  out!  and  presently  you  will  see  one  of  those  little 
fellows  shoulder  the  other  and  run  away  with  him  over 
that  plank,"  pointing  to  the  bridge. 


Miss  Jean  M.  Davenport,  now  the  eminent  actress, 
Mrs.  F.  W.  Lander. 

At  Harry  Meech's  Museum,  many  years  ago,  there  ap- 
peared a  bright,  fascinating  and  exceedingly  precocious  lit- 
tle girl,  doing  juvenile  characters,  and  so  remarkable  was 
her  rendition  of  her  various  roles,  that  she  at  once  won  the 
very  appropriate  soubriquet  of  the  "  dramatic  prodigy."  Af- 
ter performing  a  very  successful  engagement  at  the  Mu- 
seum, and  visiting  several  other  towns,  professionally,  she 
returned  to  this  city,  and  at  the  regular  theatrical  season  at 
the  old  Pearl  Street  Theatre,  arrangements  were  made  by  a 
few  friends  to  engage  the  theatre  three  nights  for  the 
"  Little  Prodigy."  The  programme  of  the  entertainment 
was  accordingly  announced,  consisting  of  "'  Douglass,"  she 
doing  "Young  Norval,"  the  "Four  Mowbrays,"  and  tbe 
"  Orphan  of  Geneva."  She  was  supported  in  her  efforts 
by  several  amateui's,  members  of  the  Histrionic  and  For- 
restonian  societies,  at  that  time  in  full  operation  in  tliis 
city,  who  acquitted  themselves  in  a  very  creditable  man- 
ner. Well,  as  goes  the  old  adage.  *'  Time  works  wonders ;" 
as,  for  instance,  the  justly  celebrated  and  brilliant  actress, 
Mrs.  Lander,  ncc  Miss  J.  M.  Davenport,  is  the  lady  who  was 
known  as  the  little  '•  Drannitic  Prodigy  "  above  alluded 
to.     It  is  a  fact,  not  generally  ujiderstood,  that  Charles 


204        Gexekal  Theatrical  Reminiscences. 

Dickens,  in  his  Nicholas  Nickleb}-,  had  in  his  mind's  eye, 
and  actually  selected  Miss  Davenport  as  the  counterfeit 
presentment  of  the  "infant  phenomenon"  in  his  great 
"vvork. 

It  is  a  somewhat  remarkable  fact  in  the  annals  of  theat- 
ricals, that  nearly,  if  not  quite  all,  of  the  numerous  dra- 
matic prodigies  who  have  appeared  within  the  last  thirty 
or  fortv  Years,  have  either  arisen  as  '"stars"  of  the  first 
magnitude,  or  filled  prominent  situations  on  the  stage  in 
stock  companies.  Among  the  juvenile  aspirants  for  dra- 
matic distinction,  and  Avho  created  the  greatest  sensation, 
w'ere  Louise  Lane  (Mrs.  John  Drew),  now  the  indefatiga- 
ble manageress  of  the  Arch  Street  Theatre,  Philadelphia, 
and  who  is  unquestionably  the  finest  general  actress  on 
the  American  stage.  Miss  J.  M.  Davenport  (Mrs.  Lander), 
Clara  Fisher  (Mrs.  Meader),  wlio  Avas  the  first  to  sing  in 
the  drama  of  the  "Maid  of  Milan,"  at  the  Pearl  Street 
Theatre  in  this  city,  the  popular  air  of  "Home,  Sweet 
Home,"  Avhile  playing  the  role  of  Clara. 


Master  Joseph  Burke. 
Master  Burke,  in  point  of  precocious  musical  and  dra- 
matic talent  and  genius,  eclipsed  all  the  juvenile  aspirants 
that  ever  appeared  in  this  or  any  other  country.  Burke's 
«Dr.  Pangloss,"  "  Sir  Peter  Teazle,"  "  Dr.  O'Toole,"  "  Ro- 
meo," "  Young  Norval "  were  performed  in  a  manner  that 
excited  the  wonder  and  admiration  of  the  play-going  pub- 
lic of  the  two  hemispheres.  One  Avould  scarcely  realize 
the  fact,  after  witnessing  Burke's  remarkable  delineations 
of  the  most  difficult  characters  at  night:  characters  be- 
longing to  actors  of  riper  3'ears  and  longer  experience — 
and  the  next  day  meeting  the  boy  in  the  street  cutting  up 
all  sorts  of  boyish  pranks,  rolling  his  hoop,  flying  his 
kite,  playing  marbles,  etc.,  utterly  regardless  of  the  re- 
marks, as  well  as  astonishment  of  the  passing  crowd,  and 


General  Theatrical  Reminiscences.        205 

apparently  nnconscioiis  of  the  enviable  and  important  po- 
sition he  occupied  before  the  world.  We  repeat,  that  it 
could  not  be  realized  that  this  mere  child,  who  Avas  seen 
the  night  previous  rendering,  in  the  most  artistic  manner, 
the  diflticult  character  of  Sir  Peter  Teazle  in  the  "  School 
for  Scandal,"  was  really  the  young  Roscius,  Master  Burke. 

Joseph,  or  Master  Burke,  was  born  in  Dublin,  Ireland, 
in  1818,  and  made  his  debut  as  Dr.  O'Toole,  in  the  "  Irish 
Tutor,"  at  tlie  Hay  Market  Theatre,  London,  at  the  age 
of  seven  years.  He  came  to  this  country  in  1830,  making 
his  appearance  at  the  New  York  Park  Theatre  in  the  char- 
acters of  Yonng  Nerval,  and  as  Dr.  O'Toole,  leading  the 
orchestra  after  the  lirst  piece  in  the  overture.  After  per- 
forming in  New  York,  Philadelphia  and  Boston,  he  made 
his  debut  in  1832  or  "3.  at  tlie  Albany  Pearl  Street  Theatre. 
Mr.  Burke  is  now  residing  in  Ncav  York,  engaged  in  the 
profession  of  teacher  and  composer  of  music.  He  moves 
in  the  first  circles  of  society  in  that  city,  honored  and  re- 
spected by  all  who  knoAv  him. 

Is  it  not  somewhat  remarkable,  that,  with  the  many 
rare  qualities  Burke  is  admitted  to  possess — and  doubtless 
the  numerous  advantageous  opportunities  presented  dur- 
ing his  many  years  of  experience  in  female  society,  he 
being  deemed,  what  the  ladies  call,  "a  good  catch,"  that 
he  should  so  long  remain  a  bachelor — which  we  under- 
stand he  still  is. 


Mrs.  Fitz  "Williams. 

There  were  several  other  di-amatic  pi-odigies  of  that  day 
— for  instance,  Mrs.  Fitz  Williams — her  maiden  name  we 
have  forgotten.  The  writer  saw  her  in  1852,  at  the  Hay 
Market  Theatre,  London  ;  she  appeared  to  be  as  fresh, 
sprightly,  and  vivacious  as  ever,  and  ranked  among  tlie 
first   comediennes   in    London.     Mrs.  Fitz  Williams  was 


20«)        General  Theatrical  Remixiscexces. 

a  great  favorite  in   this  country,  especially  in  New  York, 
Avhere  she  performed  with  immense  success. 

At  a  later  day  these  dramatic  prodigies  have  appeared 
in  astonishingly  rapid  succession  in  the  theatrical  horizon. 
There  is  Maggie  Mitchell,  and  Mary  Gannon.  Mary  died 
some  time  since.  She  was  for  a  long  time  the  favorite  at 
"Wallack's  Theatre,  and  aprofege  of  Harry  Meech,  he  having 
brought  her  out  as  an  infant  prodigy  at  the  Albany  Mu- 
seum. There  was  Lucille  and  Helen  "Western — Helen  is 
dead — Susie  and  Kate  Denin,  the  Parker  sisters,  the 
beautiful  and  talented  daughters  of  Joe  Parker — for  a 
long  time  low  comedian  at  Meech's  Museum ;  and  of  a 
later  date  still,  Lotta,  Leona  Cavender,  Little  Nell,  and 
half  a  score  of  others,  who  have  met  with  flattering  suc- 
cess as  dramatic  prodigies.  We  believe  that  all  of  the 
above  enumerated  individuals  are  now  living,  with  the  ex- 
ception of  Mary  Gannon  and  Helen  Western. 


CHAPTER  XL. 

Thomas  Cooper,  the  Celebrated  Actor. 

His  Eemarkable  Physical  Powers  of  Exdcrance— He  Performs 
HIS  Professional  Journeys  in  a  Gig  from  Philadelphia  to 
Xew  Orleans — He  offers  .§100  to  be  ferried  across  the  Hud- 
son KlVER  IN  order  to  MEET  A  PROFESSIONAL  ENGAGEMENT — 
His  FIRST  AND   ONLY   FAILURE    TO    MEET  AN   ENGAGEMENT    IN   HIS 

LONG  Theatrical  career — His  Last  Appearance  on  any 
Stage,  at  the  Pearl  Street  Theatre,  Albany — He  plays 
Damon,  in  which  his  Physical  Powers  fail  him. 

The  physical  powers  of  endurance  of  this  eminent  actor 
were  most  remarkable,  na}',  unprecedented,  as  a  proof  of 
which  we  will  cite  one  or  two  circumstances.  He  per- 
formed the  journeys  from  Philadelpliia  to  New  Orleans 
driving  a  tandem  and  handling  the  "ribbons"  himself,  to 
fulfil  professional  engagements,  in  an  old  style  gig,  suffi- 
ciently ample  to  contain  his  trunks  and  wardrobe.  He 
frequently  played  at  the  Park  Theatre,  Xew  York,  and  at 
the  Walnut  Street  Theatre,  Philadelphia,  alternate  nights 
in  the  Aveek,  performing  his  journey,  and  never  failing  to 
'•  come  to  time,"  which  was  considered  through  the  heavy 
sandy  roads  of  New  Jersey,  a  Herculean  performance. 
It  would  be  deemed  ratlier  a  rare  occurrence  of  the 
present  day  for  a  star  actor,  Avith  all  the  improved  facili- 
ties of  travel,  to  accomplish  such  a  feat,  riding  that  dis- 
tance, and  playing  an  arduous  character  the  same  evening. 
But  this  Cooper  Avould  do  Avith  little  apparent  physical 
exhaustion.  Many  silk  stocking  stars  of  the  present  day, 
would  deem  it  rather  an  arduous  task,  to  accomplish  the 


208        General  Theatrical  Reminiscences. 

journeys  Cooper  did,  even  if  in  one  of  the  splendid  draw- 
ing-room cars  in  present  nse.  As  stated  above,  he  never 
failed  to  meet  his  engagement,  with  but  one  exception,  and 
that  through  no  fault  of  his.  While  performing  in  Xew 
York  and  Philadelphia  alternately,  late  in  the  fall  of  the 
year,  the  North  river  betAveen  New  York  and  Jersey  City 
became  so  blocked  by  an  immense  field  of  floating  ice  as  to 
prevent  the  passage  of  the  ferry  boats.  Cooper  finding  it 
impossible  to  pursue  his  journey,  under  these  difficulties, 
made  arrangements  with  the  captain  of  a  small  vessel  ply- 
ing between  New  York  and  Staten  Island,  to  convey  him 
to  Jersey  City — the  agreement  being  that  Cooper  pay  the 
skipper  8100  if  he  successfully  landed  him  on  the  Jersey 
shore,  and  850  if  he  failed.  They  had  proceeded  about 
midway  of  the  stream,  when,  finding  it  impossible  to  go 
farther,  the  vessel  put  back  to  New  York,  the  skipper  re- 
ceiving his  $50,  as  per  agreement. 

Cooper  was,  probably,  taking  him  all  in  all,  the  most 
remarkable  actor  in  the  two  hemispheres.  Besides  the 
long  and  fatiguing  journeys  performed  in  his  gig,  and 
playing  his  most  arduous  roles  many  consecutive  nights, 
he  was  in  the  constant  practice  of  making  journeys  of 
miles  on  foot  during  an  engagement,  merely  for  exercise, 
as  he  would  say.  In  his  habits,  he  was  scrupulously  tem- 
perate, using  neither  spirituous  liquor  or  tobacco  in  any 
shape — being  also  exceedingly  frugal  in  his  diet.  For 
promptitude  in  fulflling  a  professional  engagement,  he 
stood  Avithout  a  rival.  He  was  never  known  to  fail  to  meet 
an  engagement,  no  matter  what  distance  he  had  to  travel, 
or  hoAvever  unfavorable  the  weather,  except  in  the  one  in- 
stance above  alluded  to. 

REMAINING   TOO    LONG    ON   THE    STAGE. 

Cooper,  like  Forrest,  made  a  great  mistake  in  remaining 
too  long  on  the  stage.  They  both  should  have  retired  be- 
fore their  well-earned  laurels  began  to  wither;  before  the 


General  Theatrical  Remixiscexces.        209 

"sere  and  yellow  leaf  of  time"  began  to  tell  upon  their 
pln'^sical  powers.  Cooper  made  his  last  appearance  upon 
the  stage,  as  did  also  Forrest,  at  the  Albany  Pearl  Street 
Theatre.  Cooper,  in  impersonating  at  this  time  his  favor- 
ite character  of  Damon,  produced  a  very  aifecting  scene, 
exciting  the  deepest  sorrow  among  his  old  admirers.  It 
was  plain  to  be  seen  that  his  physical  powers  were  rapidly 
failing.  In  the  scene  where  he  rushes  in  at  the  very  "  nick 
of  time"  to  save  his  friend  Pythias  from  the  headsman's 
axe,  he  made  an  attempt  to  leap  upon  the  scaffold,  but  his 
physical  energies  failing  he  became  completely  exhausted, 
[t  Avas  indeed  a  sorry  sight! 

Soon  after  Cooper  retired  from  the  stage,  he  was  ap- 
pointed military  store  keeper  at  tlie  arsenal  at  Frankfort, 
Pa.  He  was  afterwards  surveyor  of  the  ports  of  New 
York  and  Philadelphia,  receiving  his  appointment  from 
president  Jolm  Tyler,  whose  son  Robert  married  Cooper's 
daughter,  then  quite  an  attractive  young  actress.  Cooper 
died  in  1849,  aged  82  years. 
14 


CHAPTER  XLI. 

G-eorge  Frederick  Cooke,  and  John  Kemble, 

COMPARED   BY  A  DISTINGUISHED   GERMAN  CRITIC — COOKE'S  MARRIAGE. 

A  German  gentleman,  after  having  traveled  in  different 
parts  of  the  world,  arrived  in  England.  He  resided  there 
several  years,  and  on  his  return  to  Germany,  published 
in  a  book  his  observations  to  his  countrymen.  He  expa- 
tiated largely  on  the  English  stage,  and  of  George  Fred- 
erick Cooke  and  John  Kemble — the  greatest  actors  of  that 
time.  He  said : — "  The  countencince  of  Kemble  was  the 
most  noble  and  refined,  but  the  muscles  were  not  so  much 
at  command  as  those  of  Cooke,  who  was  a  first  rate  come- 
dian as  well  as  tragedian.  Both  were  excellent  in  tlie 
gradual  changes  of  the  countenance,  in  which  the  inward 
emotions  of  the  soul  are  depicted  and  interwoven,  as  they 
flow  from  the  mind.  In  this  excellence,  the  great  German 
actor  Issland,  and  the  renowned  French  actors.  Talma  and 
Lafond,  are  far  inferior  to  them.  Kemble  was  a  very  grace- 
ful, manly  figure,  perfectly  made  ;  his  naturally  command- 
ing stature  appeared  extremely  dignified  in  every  pictur- 
esque position ;  and  he  studied  such  effects  most  assidu- 
ously. His  face  was  a  fine  oval,  and  one  of  the  noblest 
ever  seen  on  the  stage,  exhibiting  a  remarkably  handsome 
nose,  and  a  well-formed  and  closed  mouth,  liis  fiery  and 
somewhat  romantic  eyes  shadowed  by  bushy  eyebrows,  re- 
treated, as  it  were,  and  his  front  open  and  a  little  vaulted ; 
his  cliin  prominent  and  a  lit  tic  pointed,  and  his  features  so 
softly  interwoven  that  no  deeply  marked  lines  were  per- 


General  Theatrical  Reminiscences.         211 

ceptible.  His  physiognomy,  indeed,  commands  respect  at 
first  sight,  since  it  denotes,  in  the  most  expressive  man- 
ner, a  man  of  refined  sentiment,  enlightened  mind,  and 
correct  judgment.  Without  the  romantic  look  in  his  eyes, 
the  face  of  Kemble  would  be  that  of  a  well-bred,  cold  and 
selfish  man  of  the  world;  but  this  look,  from  which  an 
ardent  fancy  emanates,  softens  the  point  of  the  chin  and 
the  closeness  of  the  mouth.  He  had  a  pleasing  voice,  but 
feeble ;  of  small  compass,  but  of  great  depth.  This  was 
the  greatest  natural  impediment  with  which  he,  to  whom 
jS'ature  had  been  thus  bountiful,  had  still  to  contend. 

"  Cooke  did  not  possess  the  elegant  figure  of  Kemble, 
but  his  countenance  beamed  with  great  expression.  His 
most  prominent  features  were  along  and  somewhat  hooked 
nose,  a  pair  of  fiery  and  expressive  eyes,  a  lofty  and  some- 
what arched  Iront,  and  the  lines  of  his  countenance,  the 
muscles  which  move  the  lips,  were  pointedly  marked.  His 
countenance  is  certainly  not  so  dignified  as  that  of  Kem- 
ble, but  discovers  greater  passion  ;  and  few  actors  are,  per- 
haps, capable  of  delineating,  in  such  glowing  colors,  the 
storm  of  a  violent  passion,  as  Cooke.  His  voice  is  power- 
ful and  of  immense  compass  ;  a  pre-eminence  he  possessed 
over  Kemble,  of  which  he  skilfully  avails  himself  His 
exterior  movements  are  inferior  in  the  picturesque  to  those 
of  Kemble." 

ANOTHER   AND   COMIC   VIEW   OF   COOKE. 

It  is  well  known  that  tliis  justly  celebrated  actor,  like 
Edmund  Kean  and  the  elder  Booth,  was  in  the  habit  of 
getting  very  "mellow"  at  times.  The  following  lines 
were  composed  by  a  poetical  wag,  as  to  Cooke's  merits : 

"  111  characters  new,  and  characters  old, 
Cooke  must  be  allowed  a  good  fellow; 
For  act  what  he  will,  we  are  certainly  told 
That  in  every  part  he  is  perfectly  mellow  !" 


212        General  Theatrical  Reminiscences. 

cooke's  marriage. 

The  following  lines  were  composed  on  George  Frederick 
Cooke's  marriage  with  an  estimable  voung  lady  of  the 
name  of  Lamb : 

"  To  expiate  the  sins  of  yore, 
The  fool  of  custom  srave  his  store, 
Perhaps  a  ewe  or  lamb ; 
So  to  atone  for  those  of  wine, 
Eepentant  grown  at  Hymen's  shrine, 
Cooke  ofi'ers  up  a  Lamb  .'" 


CHxVPTER  XLII. 

The  G-reat  Actor,  G-eorge  Frederick  Cooke. 

A  Truly  Amusing  Anecdote  of,  or  Episode  in  the  Great  Actor's 
Life  as  related  bt  the  Renowned  Mimic  and  Actor,  Charles 
Mathews  —  Cooke  preaches  Temperance  while  guzzling 
down  jugs  of  Whisky  Punch — Passage  up  the  Hudson  River 
in  the  steamer  Chancellor  Livingston — Cooke's  Monument 
IN  St.  Paul's  Churchyard,  New  York,  erected  by  Edmund 
Kean,  the  great  English  Actor,  etc.,  etc. 

Dunlap,  the  biographer  of  the  great  actor,  George  Fred- 
erick Cooke,  relates  the  following  incident  which  occurred 
while  on  his  passage  from  New  York  to  Albany,  in  1823, 
on  board,  Avhat  was  at  that  time  considered  the  very  ne 
plus  ultra  of  self-propelling  hotels,  the  steamer  Chancel- 
lor Livingston.  Among  the  two  or  three  hundred  pas- 
sengers, were  the  celebrated  novelist,  James  Fennimore 
Cooper,  and  the  far-famed  mimic  and  actor,  the  elder 
Charles  Mathews.  The  anecdote  was  told  and  acted  out  by 
Mathews.  Those  who  have  ever  seen  Mathews  perform,  will 
readily  appreciate  it : 

"  We  had  but  one  regular  meal  on  the  passage,  a  very 
plentiful  supper  with  tea  and  coffee,  at  about  seven  o'clock. 
We  had  embarked  at  5  p.  m.,  and  arrived  at  Albany  by  sun- 
rise. The  meal  was  not  suited  to  the  habits  of  Mr.  Math- 
ews, and  he  was  offended  by  both  the  matter  and  manner 
of  it;  but  when  the  preparations  for  sleeping  took  place, 
and  he  found  that  the  whole  company,  females  excepted, 
must  seek  rest  in  the  same  cabin,  some  in  berths  and  others 
accommodated  with  mattresses  on  the  floor,  his  feelings  re- 


214        General  Theatrical  Keminiscences. 

volt'ed,  and  he  protested  against  taking  rest  on  such  terms. 
To  this  feeling  I  am  indebted  for  a  night  of  much  amuse- 
ment; I  should  be  unjust  if  I  did  not  add,  and  some  in- 
struction. I  had  secured  a  mattress  on  the  floor  of  one 
of  the  cabins  and  should  have  slept  aAvay  at  least  a  part 
of  the  night,  but  that  Fennimore  Cooper  gave  me  an  inti- 
mation of  Mathews'  wish  to  set  up,  and  of  his  (Coopers) 
success  in  obtaining  the  captain's  cabin  on  the  deck  of  the 
vessel,  Avhere  Mathews,  Francis,  and  himself,  had  deter- 
mined to  enjoy  a  supper,  whisky  punch,  and  such  convi- 
vial pleasure  as  could  be  extracted  from  such  circumstances 
and  such  a  meeting.  I  readily  accepted  the  invitation  to 
make  one  of  the  party. 

"  Seated  in  the  captain's  cabin,  and  free  from  all  annoy- 
ance, Mathews  became,  as  usual,  the  fiddle  of  the  company, 
and  story,  anecdote,  imitation  and  song,  poured  from  him 
with  the  rapidity  and  brilliancy  of  the  stars  which  burst 
from  a  rocket  on  a  rejoicing  night.  To  make  himself  still 
more  agreeable  to  the  senior,  he  introduced  the  memoirs 
of  George  Frederick  Cooke  Avith  that  flattery  which  is 
delicious  to  all  men,  and  peculiarly  so  to  an  author.  '  The 
story  of  Cooke  and  Mrs.  Burns,'  he  added,  'you  have  told 
remarkably  well,  and  when  I  have  introduced  it  in  my 
youthful  days,  I  have  always  taken  your  words ;  but  Tom 
Cooper,  from  whom,  as  I  understand  you  had  it,  forgot  the 
termination  of  the  story, — the  real  denouement, — which 
makes  it  infinitely  more  dramatic.  All  joined  in  the  re- 
quest that  Mathews  would  tell  the  story  in  his  own  way, 
and  he,  nothing  loth,  began: 

"  I  was  a  raw  recruit  in  the  Thespian  corps,  and  it  Avas 
my  first  campaign  in  Dublin.  Chance  made  me  a  fellow- 
lodger  with  Cooke,  at  the  house  of  Mistress  Burns.  1 
had  looked  at  the  great  actor  Avith  an  awful  reverence,  but 
had  not  yet  been  honored  by  any  notice  from  him. 

"In  getting  up  Macklin's  Love  a  la  Mode,  I  had  been 
cast  for  Beau  Mordecai,  and  assuredly  a  more  unlit  repre- 


General  Theatrical  Reminiscences.        215 

sentative  of  the  "little  Jew"  can  scarcely  be  imagined. 
As  tall  as  I  now  am,  I  then  had  all  the  rawboned  awk- 
wardness of  a  hobbletehoy,  and  no  knowledge  of  the  world 
or  the  staffe.  But  Mr.  Cooke  must  be  shown  to  the  Dub- 
lin  public  in  Sir  Archy,  and  there  Avas  no  other  Mordecai 
to  be  had.  I  was,  however,  perfect  in  the  words,  and  if  I 
murdered  the  Jew,  I  did  it  impartially  ;  I  murdered  him 
'eA^ery  inch.' 

"  x4fter  the  farce  I  tarried,  as  yon  Yankees  say,  a  consid- 
erable time  at  the  theatre,  rather  choosing  to  linger  among 
the  almost  expiring  dipped  candles  of  the  dressing-rooms, 
than  to  seek,  through  mist  and  mud,  my  lofty  but  com- 
fortless abode  in  Mrs.  Burns'  garret ;  but  the  property-man 
gave  me  my  cue  to  depart  by  pntting  out  the  lights,  and 
I  was  slowly  mounting  to  my  bed  when,  as  I  passed  the 
room  of  the  great  man,  I  saw  him  (the  door  being  open) 
sitting  with  a  jug  before  him,  indulging  after  the  labors 
of  the  evening.  I  was  stealing  by  to  my  apartment  when 
I  Avas  arrested  by  a  loud  high-pitched  voice,  crying,  '  come 
hither  A^onng  man.'  I  could  scarcelv  believe  mv  senses — 
I  hesitated.  'Come  in,'  Avas  repeated.  I  adA-anced. 
'  Shut  the  door,  and  sit  down.'  I  obeyed.  He  assumed 
an  air  of  courtesy,  and  calling  upon  Mrs,  Burns  for  an- 
other tumbler,  filled  for  himself  and  me.  'You  will  be 
so  kind,  my  good  Mistress  Burns,  as  to  bring  another 
pitcher  of  Avhisky-punch  in  honor  of  our  young  friend.' 
'To  be  sure  and  I  Avill,  Mr.  Cooke.'  The  punch  was 
brought,  together  Avith  a  hot  supper,  an  unusual  luxury 
then  to  me.  After  supper  the  veteran,  quite  refreshed  and 
at  ease,  chatted  incessantly  of  plays  and  players, — lashing 
some,  commending  others, — Avhile  T,  delighted  to  be  thus 
honored,  listened  and  laughed,  thus  playing  naturally  and 
sincerely  the  part  of  a  most  agreeable  companion.  After 
the  third  jug  of  punch  I  Avas  sufficiently  inspired  to  ask  a 
feAV  questions,  and  even  to  praise  the  acting  of  the  veteran. 

'•  To  use  vonr  own  Avords,  as  I  have  often  done  before," 


216        General  Theatrical  Eeminiscences. 

said  Mathews,  addressing  himself  to  the  biographer,  "one 
jug  of  wliisky-pimeh  followed  the  other,  and  Cooke  be- 
gan to  advise  his  young  companion  how  to  conduct  him- 
self on  the  real  and  on  the  mimic  scene  of  life.'  '  You 
are  young,  and  want  a  friend  to  guide  you.  Talent  you 
have,  but  talent  without  prudence  is  worthless,  and  may 
be  pernicious.  Take  my  word  for  it,  there  is  notliing  can 
place  a  man  at  the  head  of  his  profession  but  industry  and 
sobriety.  Mistress  Burns! — slum  inebriety  as  you  would 
shun  destruction.  Mistress  Burns !  another  jug  of  whisky- 
punch.  Mistress  Burns.'  '  Oli,  Mister  Cooke.'  '  You 
make  it  so  good,  Mistress  Burns — another  jug.'  *'  Yes, 
Mister  Cooke.'  '  In  our  profession,  my  young  friend, 
dissipation  is  the  bane  of  hundreds;  villianous  company 
— low  company,  leads  to  drinking,  and  the  precious  time 
is  lost  which  should  have  been  employed  in  gaining  that 
knowledge  which  alone  can  make  man  respectable.  Ah  I 
thank  you,  Mistress  Burns ;  this  has  the  true  Hibernian 
smack!'     '  You  may  say  that.  Mister  Cooke.' 

'•  It  is  needless  to  remind  the  reader  that  with  the  aid  of 
Mathews'  powers  of  imitation,  sometimes  called  ventrilo- 
quism in  this  humbugging  world,  all  this  and  much  more 
would  be  extremely  pleasant,  and  more  especially  as  the 
company  had  repeated  supi)lics  of  the  same  inspiring  bev- 
erage from  the  steward,  and  almost  as  good,  certainly  as 
strong,  as  that  of  Mistress  Burns. 

"  Mathews  went  on  to  describe  the  progress  of  Cooke's  in- 
toxication, during  which  his  protests  against  drunkenness 
became  stronger  with  each  glass.  He  then  undertook  to 
instruct  the  tyro  in  the  histrionic  art,  and  especially  in 
the  manner  of  exhibiting  the  passions.  Here  it  would  be 
vain  to  endeavor  to  follow  Mathews.  Cooke's  grimaces 
and  vtnce — while  his  physical  jH)wers,  under  the  influence 
of  whisky,  rebelled  at  every  effort  against  the  intention 
of  the  lecturer — were  depicted  by  the  mimic  in  a  manner 
beyond  the  conception  of  even  those  Avho  have  seen  the 


General  Theatrical  Keminiscences.        217 

public  exbibitiou  of  bis  talents;  here  all  was  unrestrain- 
ed mirth  and  fnn,  Jind  the  painting  truly  con  ainore,  and 
glowing  from  heart  and  glass. 

"  It  "must  be  remembered,"  continued  Mr.  Mathews, 
"  that  I  was  but  a  boy,  and  Cooke  in  the  full  vigor  of  man- 
hood, with  strength  of  limb  and  voice  Herculean.  I  had 
the  highest  reverence  for  his  talents,  and  literally  stood  in 
awe  of  him ;  so  that  when  he  made  his  horrible  faces,  and 
called  upon  me  to  name  the  passiou  he  liad  depicted,  I  was 
trulv  frighteued — overwhelmed  with  the  dread  of  offend- 
ing him,  and  utterly  at  a  loss  to  distinguish  one  grimace 
from  another,  except  as  one  was  7nore  and  another  7nost 
savage  and  disgusting. 

"  '  Now,  sir — observe — what's  that  ? ' 

" '  Revenge,  sir ! ' 

" '  Revenge  !  you  booby!  pity!  pity  ! ' 

"  Then,  after  making  another  hideous  contortion  of 
countenance,  he  cries: 

*' '  What  is  that,  sir  ?  ' 

"  '  Very  tine,  sir ;  very  fine,  indeed ! ' 

•'  'But  what  is  it,  sir  ?  ' 

"  Forced  to  answer,  and  utterly  unable  to-  guess  the 
meaning  of  the  distorted  face  which  he  then  again  thrust 
before  me,  I  stammered  out,  '  Anger,  sir ! ' 

"'Anger!' 

"  '  Yes,  sir;  anger,  to  be  sure.' 

"'To  be  sure,  you  are  a  blockhead!  look  again,  sir; 
look  again ! ' 

" '  It's  fear,  sir — fear ! ' 

'"  You  play!  you  a  player! '" 

"  Mathews  then  exhibited  the  face  of  Cooke  as  he  distorted 
it  to  express  the  tender  'passioii — a  composition  of  satanic 
malignity,  and  the  brutal  leering  of  a  drunken  satire — and 
imitating  Cooke's  most  discordant  voice,  cried :  "  Thei-e, 
sir;  that's  love!"  "This,"  continued  Mathews,  "was 
more  than  I  could  bear :  even  mv  fears  could  not  restrain 


218        General  Theatrical  Reminiscences. 

my  laughter;  I  roared.  Cooke  stared  at  first,  but  imme- 
diately assuming  a  most  furious  aspect,  he  cried,  '  What  do 
you  laugh  at,  sir  ?  Is  George  Frederick  Cooke  to  be  made 
a  laughing  stock  for  a  booby  ?  What,  sir  ?  '  Luckily,  at 
that  moment  Mrs.  Burns  stood  with  the  door  partly  opened, 
and  another  jug  in  her  hands.  '  You  must  pardon  me, 
sir,'  I  said,  with  a  quickness  which  must  have  been  the 
inspiration  of  whisky,  '  but  you  happened  to  turn  your 
soft  and  languishing  look  towards  the  door  just  as  Mrs. 
Burns  opened  it,  and  I  could  not  but  think  of  the  dan- 
gerous effect  of  such  a  look  upon  her  sex's  softness.' 

"  He  laughed ;  and  embracing  the  jug  as  the  good  woman 
put  it  down,  he  looked  at  Mrs.  Burns,  and  with  some 
humor,  endeavored  to  sing,  '^  Hoiv  liappy  could  I  be  luith 
either,  were  Votlier  dear  charmer  away,'  but  with  a  voice 
"which  defies  art  and  nature  for  a  comparison. 

"  Mrs.  Burns  now  protested  against  any  more  punch ; 
but  after  some  time  agreed,  upon  Cooke's  solemn  promise 
to  be  satisfied  with  one  more  jug,  to  bring  it. 

"  *  But  remember  yoar  honor,  Mister  Cooke;  and  that 
is  the  iewel  of  the  soul,  as  von  sav.' 

"'  I  said  no  such  thing  ;  but  I'll  be  as  good  as  my  w^ord, 
and  one  more  jug  you  shall  have,  and  thedivil  a  bit  more, 
jewel  or  no  jewel ! '  I  was  heartily  tired  by  this  time,  and 
placed  my  hope  on  Mrs.  Burns'  resolution.  The  last  jug- 
came,  and  was  finished;  and  I  wished  him  good  night. 

"  '  Not  yet,  my  dear  boy.'  '  It's  very  late,  sir.'  '  Early, 
early;  one  jug  more.'  'Mrs.  Burns  will  not  let  us  have 
it,  sir.'     '  She  Avill  not!     I'll  show  you  that  presently! ' 

"  Then  followed  a  fine  specimen  of  imitation  ;  Mathews, 
as  Cooke,  calling  upon  Mrs.  Burns,  (who  was  in  the  room 
l)elow,  and  in  bed,)  and  then  giving  her  answers,  as  coming 
up  through  the  floor,  in  the  manner  called  ventriloquism. 

"•Mistress  Burns!  Do  you  hear,  Mistress  Burns?' 
'Indeed  and  I  do.  Mister  Cooke.'  '  Bring  me  another  jug 
of  whisky-punch.  Mistress  Burns  I '     *  In<lepd  ami  1  iron.t, 


General  Tiieatkical  Reminiscences.        219 

Mister  Cooke ! '  •'  You  won't  ?  '  '  Indeed  and  so  I  wotvt.' 
'Do  you  hear  that,  Mistress  Burns?'  (smashing  the  jug 
on  the  floor).  '  Indeed  and  I  do,  and  you'll  be  sorry  for  it. 
to-morrow.'  He  then  regularly  took  the  chairs,  one  Vjy 
one,  and  broke  them  on  the  floor  immediately  over  Mrs. 
Burns'  head,  after  every  crash,  crying,  '  Do  you  hear  tluit. 
Mistress  Burns?'  and  she  as  regularly  answering,  'In- 
deed ami  I  do,  Mister  Cooke.'  He  next  opened  the  win- 
dow, and  threw  the  looking-glass  into  the  street. 

"I  stood,"  continued  Mathews,  "in  a  state  of  stupid 
amazement  during  this  scene,  but  now  attempted  to  make 
my  escape,  edging  towards  the  door,  and  making  a  long 
stride  to  gain  the  garret  stairs.  'Come  back,  sir!  Where 
are  you  going  ? '  '  To  bed,  sir.'  '  To  bed,  sh- !  What,  sir ! 
desert  me !  I  command  you  to  remain,  on  yoitr  allegiance ! 
Desert  me  in  time  of  war!  Traitor! '  I  now  determined 
to  make  resistance;  and  feeling  pot-valiant,  looked 
big,  and  boldly  answered,  *'  I  will  not  be  commanded !  I 
will  go  to  bed ! '  *'  Aha! '  cried  the  madman,  in  his  highest 
key,  '  Aha !  do  yon  rebel  ?  Caitiff!  Wretch  !  Murderer  ! ' 
"  He  advanced  upon  me  and  I  shrank  to  nothing  before 
his  flashing  eye.  '  Murderer!'  and  he  seized  me  by  the  col- 
lar with  Herculean  grip.  '  You  will  go!  I  will  send  you 
to  the  place  you  are  fitted  for!  Murderer !  I'll  drag  you 
to  your  doom !  I'll  give  you  up  to  fate !  Come  along, 
caitiff!'  and  he  dragged  me  to  the  open  window,  vocifera- 
ting, 'Watch!  watchi  murder!  murder!'  in  his  highest 
and  loudest  key. 

"  Immediately  the  rattles  were  heard  approaching  in  all 
directions,  and  a  crowd  instantly  collected.  He  continued 
vociferating  'Watch!  watch!  murder!'  until  the  rattles 
and  exclamations  of  the  watchmen  almost  drowned  his 
stentorian  voice. 

"'What's  the  matter?  who's  kilt?  who's  murdered? 
•Where's  the  murderer?' 

" '  Silence !'  screamed  Cooke — '  hear  me !' 


220        Genekal  Theatrical  Remini«cexces. 

All  became  hushed.  Then  holding  me  up  to  the  win- 
dow, the  raving  tragedian  audibly  addressed  the  crowd : 
"In  the  name  of  Charles  Macklin,  I  charge  this  culprit, 
Charles  Mathews,  with  the  most  foul,  cruel,  deliberate  and 
luinatural  murder  of  the  unfortunate  Jew,  Beau  Morde- 
cai,  in  the  farce  of  '  Love  a  la  Mode.'  Then  pulling  down 
the  window,  he  cried,  '  ^ow  go  to  bed,  you  booby !  go  to 
bed :  go  to  bed ! " 

The  steamboat  party  remained  together  until  near 
morning,  and  then  retired  to  rest.  Let  it  not  be  supposed 
that  they  imitated  the  folly  of  the  hero  of  the  above  tale 
because  whisky  punch  has  been  mentioned.  The  evening, 
or  night,  Avas  one  of  real  interchange  of  mind,  heightened 
by  the  peculiar  powers  and  habits  of  the  very  extraordi- 
nary histrionic  artist  Avho  gave  this  instance  of  Cooke's 
eccentric  and  pernicious  propensities. 

Shortly  after  the  arrival  of  the  celebrated  Edmund  Kean 
in  New  York,  which  was  in  November,  1820,  he  paid  a 
visit  to  the  place  of  the  interment  of  Mr.  Cooke,  and  then 
determined,  prior  to  his  departure  for  Europe,  to  erect  a 
suitable  monument  to  the  memory  of  him  whose  extraor- 
dinary powers,  though  he  himself  had  never  witnessed 
them,  had  been  so  highly  lauded  by  every  admirer  of 
Shakspeare  and  the  lover  of  nature. 

Accordingly,  in  June,  1821,  the  body  of  Mr.  Cooke  was 
removed  from  the  Strangers'  vault,  in  St.  Paul's  church- 
yard, Xew  York  city,  to  a  most  eligible  spot  in  the  centre 
of  that  extensive  burial  ground.  Mr.  Cooke  died  in  Sep- 
tember, 1812,  and  the  monument  over  his  remains  Avas 
erected  on  the  4th  of  June,  1821.  It  is  well  executed 
in  marble,  by  the  Frazees,  and  consists  of  a  square 
jiedestal  on  two  steps,  surmounted  by  an  urn,  from  the  top 
of  which  a  llnme  issues  towards  the  Park  Theatre,  the 
scene  of  Mr.  Cooke's  greatest  efforts  in  this  country.  The 
inscription   on    the  tomb  was  furnished  by  Dr.  Francis, 


General  Theatrical  Remixiscences.        221 

who  had  superintended  the  removal  of  the  remains,  is  as 
follows : 

"  Erected  to  the  Memory  ok 

GEORGE  FREDERICK   COOKE, 

Br  Edmund  Kean,  of  the  Theatre  Royal,  Drcrt  Lane,  1821. 

"  Three  kingdoms  claim  his  birth. 
Both  hemisphores  prouoimce  his  worth." 

Life's  but  a  walkinp:  shadow,  a  poor  player 
That  struts  his  brief  hour  upon  the  stage, 
And  then  is  heard  no  more. 


CHAPTER  XLIII. 

The  Old  Trowbridge  Museum. 

First  Museum  in  Albany,  1798,  corner  of  Green  and  Beaver 
Streets— Henry  Trowbridge  discovers  and  produces  Illumi- 
nating Gas,  using  it  instead  of  "  penny  dips  "  and  oil  in 
uis  Museum  —  Charlotte  Temple  — Her  Tomb  in  Trinity 
Churchyard,  Xew  York— That  Veritable  "Old  Hand  Or- 
gan"—Its  Dulcet  Notes— Yankee  Hill— He  first  Appears 
IN  Songs  and  Yankee  Stories  in  the  "Little  Dark  Room" 
of  the  Old  Museum— He  next  makes  His  Debut  at  the  Pearl 
Street  Theatre— His  Amours  with  a  Pretty  Actress— His 
Final  Ruin  and  Melancholy  "  Exit"  from  Life's  Busy  Stage. 

In  the  series  of  our  "Theatrical  Eeminisceuces,"  pub- 
lished from  time  to  time  in  the  Albany  Morning  Express, 
but  slight  allusion  was  made  to  either  the  old  Trowbridge 
Museum  or  Meech's  Alban}^  Museum. 

Before  proceeding  with  a  fuller  sketch  of  the  two 
Museums  above  mentioned,  we  would  state  that  Trow- 
bridge's Museum  was  not,  as  was  supposed,  the  "first" 
establishment  of  the  kind  in  Albany,  as  will  appear  by  the 
annexed  announcement  of  1798  :  "  A  Museum  is  now  es- 
tablished in  this  city,  (Albany),  and  is  open  for  inspection 
at  the  corner  of  Green  and  Beaver  streets,  opposite  Den- 
nison's  Tavern,  every  day,  (Sunday  excepted,)  from  nine 
o'clock  in  the  morning  till  nine  at  night.  It  contains  a 
number  of  living  animals." 

Trowbridge  and  his  Illuminating  Gas. 

Mr.  TrowJjridge  gave  the  first  exhibition  of  his  gaslight 
in  1817,  to  a  large  audience  who  were  there  mainly  with  a 


Gexeual  Theatrical  Remixlscence.s.        22o 

view  to  rewufd  him  for  his  indefatigable  exertions,  and  wlio 
expressed  much  gratification  at  the  result  of  the  novel  ex- 
periment. Mr.  Trowbridge  afterwards  tried  various  experi- 
ments with  gas,  such  as  collecting  it  in  glasses,  allowing 
persons  to  inhale  it,  and  on  application  of  fire  a  bright 
flame  would  issue  from  their  mouths.  Mr.  Trowbridge 
clearly  explained  the  difference  of  lighting  his  establish- 
ment with  gas,  or  with  tallow  candles  and  oil — the  dif- 
ference being  as  follows:  lighting  with  oil  and  tallow  can- 
dles, per  night,  from  $1.88  to  #2.25 ;  and  the  coal  and  wood 
consumed  in  producing  sufficient  gas  for  one  hundred  and 
twenty  burners,  amounted  to  only  sixty  cents  per  niglit  I 
Mr.  Trowbridge,  it  would  appear  then,  was  one  of  the 
first,  if  not  the  first,  to  discover  and  to  introduce  gas  for 
illuminating  purposes. 


"  Trowbridge's  Museum," 

or,  New  York  State  Museum,  was  located  on  the  North- 
east corner  of  Hudson  and  Court,  afterwards  South  Mar- 
ket street,  (now  Broadway.)  Previous  to  Mr.  Trowbridge's 
occupancy  of  the  building  as  a  Museum,  the  State  occu- 
pied it  for  public  purposes,  the  Legislature  holding  its 
annual  sessions  there  till  the  present  Capitol  Avas  erected. 
Mr.  Trowbridge,  in  1830,  removed  his  traps  to  the  new 
marble  building  corner  of  State  street  and  Broadway, 
erected  by  the  celebrated  stage  proprietors,  Messrs.  Thorpe 
&  Sprague. 

Trowbridge's  Museum,  in  those  days,  was  considered 
quite  an  institution,  it  being  the  only  establishment  of  the 
kind,  of  any  consequence,  north  of  New  York.  Trow- 
bridge had  a  sprinkling  of  the  tact,  taste,  and  go-aheadi- 
tiveness  of  Barnum,  but  little  of  his  '-humbugging"  pro- 
pensities. Trowbridge  was  ever  on  the  qnUvive  securing 
all  sorts  of  monstrosities  that  love  or  money  could  pro- 


224:        General  Theatrical  Reminlscences. 

cure — such  as  huge  reptiles,  double-headed  and  six-legged 
calves,  lambs,  and  other  wonder-exciting  curiosities! 


Charlotte  Temple's  Tomb  in  Trinity  Churchyard, 

New  York. 

Among  the  prominent  features  in  the  "show  depart- 
ment," were  the  execution  of  the  nnfortunate  "Louis  the 
Sixteenth,"  "Charlotte  Temple,"  (the  remains  of  this  un- 
fortunate woman  were  interred  in  Trinity  Churchyard,  New 
York.  Her  grave  can  be  seen  on  the  east  side  of  the  church, 
sim})ly  her  name  engraved  upon  the  dark  marble  slab  that 
lies  flat  upon  her  tomb.  It  is  said  that  when  her  remains 
were  first  placed  there  a  large  brass  plate  with  her  name 
engraven  thereon,  was  set  in  the  marble  slab,  but  some 
"  body  snatcher  "  or  sneak  thief,  supposing  the  plate  to  be 
gold,  detached  it  and  carried  it  oflf,)  "  Tam  O'Shanter 
and  Souter  Johnny,"  the  "Witch  of  Endor  raising  Sam- 
uel from  the  Tomb,"  "  Punch  and  Judy,"  the  "  Great 
Leviathan  Turtle,"  or  shell,  fifteen  feet  in  circumference  ; 
the  "  rope  with  which  Hamilton  was  hung  "  for  shooting 
Major  Birdsall,  near  the  old  arsenal  in  the  Colonie,  while 
on  parade.  ^Fhen  there  was  the  veritable  "  old  hand 
ougan!" 

'■  From  rosy  morn  to  dowy  eve," 

grinding  out  sucii  soul-thrilling  and  fashionable  airs  as 
"Molly  Hang  the  Kettle  on,"  "Yankee  Doodle,"  (minus 
the  variations ! !)  "  liarney  Leave  the  Girls  Alone,"  "  The 
Rogue's  March,"  and  other  equally  choice  music!  The 
"Old  Organ,"  as  thousands  will  be  very  apt  to  long  remem- 
ber, was  also  prominent  among  the  features  of  the  new 
Albany  Museum! 

Attached  to  the  old  Museum  was  a  tolerably  fair  sized 
but  very  dark  ajiartment,  bearing  the  imposing  title  of 
"Lecture   Room!"  where  most  of  the  exhibitions  were 


General  Theatrical  Reminiscences.        225 

given  at  night.  In  this  room  the  antiquated  "  Phantas- 
magoria," with  the  "  Dance  and  Multiplication  of 
Witches/'  was  nightly  exhibited  to  unsophisticated  and 
awe-stricken  crowds !  Occasionally  appeared  in  this  lec- 
ture room  a  "  star  "  itinerant  comic  singer  or  dancer,  in 
the  way  of  extra  luxury  for  the  patrons  of  the  establish- 
ment. 

"Yankee  Hill." 

It  was  in  this  little  dark  lecture  room  that  Yankee  Hill, 
who  ranked  among  the  very  first  in  this  country  as  a  rep- 
resentative of  Yankee  character,  commenced  his  dramatic 
career,  entertaining  his  audiences  wnth  comic  songs  and 
Yankee  stories.  One  of  those  songs  we  well  remember, 
each  verse  ending  with  "  Mr.  York,  you're  Wanted,"  which 
was  nightly  repeated  to  a  delighted  and  encoring  throng ! 

In  speaking  of  Yankee  Hill,  we  would  state  that  it  Avas 
at  the  suggestion  and  interposition  of  the  writer  of  this 
work,  that  an  arrangement  was  made  with  the  managers, 
Messrs.  Duffy  &  Forrest,  to  bring  Hill  out  on  the  boards 
of  that  theatre  in  his  Yaukee  characters.  The  suggestion 
Avas  at  once  entertained  and  acted  upon  by  the  managers, 
and  in  a  short  time  he  made  his  debut  in  the  Yankee 
character  in  Woodworth's  beautiful  comedetta  of  the 
"Forest  Rose,"  in  which  he  at  once  made  a  hit — a  '"'pal- 
pable hit" — and  rapidly  rose  in  the  profession,  finally 
reaching  the  very  highest  niche  in  the  temple  of  dramatic 
fame. 

Hill  was  a  Yankee  by  birth — his  voice,  Avith  the  natural 
nasal  twang,  peculiarly  and  admirably  adapting  him  to 
the  character.  He  was  easy,  quiet,  and  perfectly  natural 
in  his  every  impersonation,  sui-passing,  beyond  all  doubt, 
Hackett,  Dan  Marble,  and  others  who  assumed  the  Yankee 
role.  Hill  immediatelv  commenced  '•'  starring "  it  throuo-h- 
out  this  countrv,  afterwards  making  a  professional  tour 
15 


226        General  Theatrical  Reminiscences. 

throngli  the  priucii:)al  cities  of  England,  Ireland  and  Scot- 
land, meeting  with  a  success  theretofore  unknown  to  an 
American  actor. 


Hill's  Amour  with  a  Pretty  Actress. 

Ilill  accumulated  a  very  handsome  competency,  and  re- 
turned to  his  native  land.  Unfortunately  for  him,  how- 
ever, while  in  London  he  became  enamored  of  a  fascinating 

but  very  artful  young  actress  of  the  name  of  Miss  E s, 

whom  he  brought  with  him  to  this  country.  She  appeared 
at  the  principal  theatres  in  the  United  States,  meeting  with 
considerable  success.  While  in  the  city  of  Washington, 
which  was  during  John  Tyler's  ("  Tippecanoe  and  Tyler 
too  ")  administration,  she  produced  so  decided  a  sensation 
among  the  magnates  of  that  city  by  her  cunning  manoeuvre- 
lug,  coquetting,  and  shrewd  strategy,  as  to  actually  suc- 
ceed in  controling  the  appointment  of  many  a  "•  scurvy 
politician  "  to  an  office  in  some  of  the  government  depart- 
ments at  Washington,  as  well  as  elsewhere.    "  Bob  "  T , 

it  was  strongly  suspected,  had  been  inveigled  in  the  meshes 
of  this  artful  girl,  which  may  in  a  measure  account  for  the 
influence  she  had  in  controling  aifairs  to  the  extent  she 
did. 

"  Wine  and  Women  "  Hill's  Ruin. 
It  was  through  the  wiles  and  intrigues  of  this  young 
actress  that  Hill  was  ultimately  driven  to  an  utter  state 
of  despair  and  final  ruin  !  "  Women  and  Avine,"  so  often 
the  ruin  of  young  men  of  the  present  day,  Avas  the  cause 
of  destroying  poor  Yankee  Hill!  His  sad  fate  should  be 
a  solemn  warning  to  our  young  men  generally.  He  died 
at  Saratoga  Springs,  September  27,  1840,  in  the  51st  year 
of  his  age,  in  rather  embarrassed  circumstances,  leaving  an 
amiable  and  very  exemplary  wife  and  several  children,  Mho 
at  last  accounts  were  residing  at  Batavia,  Genesee  county, 


General  Theatrical  Eemixiscexces.        227 

N.  Y.  Hill  once  owned  a  beautiful  villa  at  liatavia,  lo- 
cated near  the  Isew  York  Central  Railroad  depot,  situated 
on  an  elevated  plat  of  ground,  commanding  an  uninter- 
rupted view  of  the  beautiful  village  of  Batavia  and  sur- 
rounding country ;  but  whether  this  property  was  saved 
from  his  wrecked  fortune  and  secured  as  a  home  for  his 
Avife  and  children,  we  have  never  been  advised.  We,  how- 
ever, understand  that  Hill's  life  was  insured  for  $5,000, 
which  his  wife,  without  doubt,  received.  In  conclusion, 
we  would  mention  that  after  Hill  relinquished  the  dramatic 
profession  he  adopted  the  dentistry  profession,  in  which 
he  Avas  engaged  until  within  a  short  period  of  his  demise. 
After  Hill's  retirement  from  the  stage,  it  was  ver}-  evi- 
dent the  interest  in  Yankee  character  began  rapidly  to 
decline,  as  none  were  found  capable  of  filling  his  place,  or 
even  to  touch  his  cast-off  mantle ;  he  was  beyond  all 
doubt  or  cavil,  the  very  best  delineator  of  Yankee  charac- 
ters in  the  world. 


CHAPTER   XLIV. 

The  Albany  Museum. 

Sketch  of  the  same  from  18:W  to  its  final  closing — The  va- 
rious Managers — Enlargement  of  the  Dramatic  Depart- 
ment—  Names  of  the  various  Prominent  Stars,  and  of 
many  of  the  various  Stock  Companies — Sketch  of  Daniel 
Lambert — Anecdotes,  etc. 

As  was  stated  iu  a  previous  chapter,  Mr.  Trowbridge, 
in  1830,  removed  from  the  old  Museum  to  the  new  mar- 
ble building  corner  of  State  street  and  Broadway,  his  stock 
of  curiosities  and  fixtures.  No  building  in  the  country 
was  so  admirably  adapted  to  the  purposes  designed  by  the 
proprietor  as  the  one  which  he  had  just  taken  possession 
of.  Originally,  the  entrance  to  the  Museum  was  by  the 
spiral  stair-way  on  the  corner  of  State  street  and  Broad- 
way, conuecting  with  an  ample  balcony.  A  few  years  sub- 
sequently the  entrance  to  the  same  was  changed  to  the 
present  one  on  State  street,  the  spiral  stair-way  removed, 
and  the  balcony  left  remaining  for  the  accommodation  of 
the  Museum  band,  consisting  of  a  Kent  bugle,  clarionet 
and  bass  drum,  Avhich  was  wont  to  discourse,  aided  occa- 
sionally by  an  accompaniment  on  the  veritable  hand-organ, 
most  excellent  music — regaling  night  and  day  the  aunil 
sensibilities  of  the  visitors  as  well  as  the  passing  throng  I 

In  speaking  of  the  musical  department  of  this  establish- 
ment, we  should  have  said  that  the  organ,  as  Avell  as  the 
Ixiss  drum,  wci'e  not  done  generally  by  musical  artists,  but 
usually  by  a  genteel  class  of  young  men  who,  by  getting 


General  Theatrical  Keminiscences.        229 

on  the  sunny  side  of  the  proprietor's  nature,  worked  tli em- 
selves  in  as  permanent  "  dead-heads." 

This  Avas  one  of  tlie  largest  and  most  admirably  arrang- 
ed Museums  in  this  country,  with  the  exception,  perhaps, 
of  Barnum's;  the  collection  of  rare  and  beautiful  birds, 
native  and  exotic,  far  surpassing  even  Barnum's,  Peal's  or 
any  other  establishment  of  the  kind  in  tlie  Union,  as  was 
the  frequently  expressed  opinion  of  Professor  John  Bell 
and  other  celebrated  taxidermists.  The  collection  of  ani- 
mals, aquatic  fowls,  etc.,  Avas  also  very  rare,  extensive  and 
artistically  prepared,  as  was  also  the  very  fine  collection 
of  wax  figures,  occupying  conspicuous  positions  in  various 
parts  of  the  spacious  "  show  rooms;"  theAvhole  forming  an 
attraction  Avorthy  the  attention  and  study  of  visitors. 

Daniel  Lambert. 

As  this  remarkable  personage  constituted  the  largest 
feature  among  the  countless  monstrosities,  and  as  many 
incredulous  people  Avho  gazed  iipon  the  Avax  figure  of 
Daniel  ''didn't  believe  such  a  person  ever  existed,  and  that 
he  was  a  mere  myth,"  Ave  subjoin  the  folloAving  sketch 
from  English  history  as  incontestible  evidence  that  such  a 
man  as  Daniel  Lambert  did  "live,  move — though  rather 
sloAA' — and  have  a  being": 

"In  the  year  1810,  Daniel  Lambert  died  in  Stamford, 
England,  in  the  59th  year  of  his  age.  He  Avas  long  cele- 
brated in  sporting  annals,  and  not  less  famous  for  his 
bulk  and  immense  Aveight,  being  confessedly  the  heaviest 
human  being  in  all  Europe. 

"  This  extraordinary  person  Avas  born  at  Leicester,  in 
the  year  1769.  His  father  Avas  keeper  of  the  BrideAvell  of 
that  toAvn,  to  Avhich  situation  his  son  Daniel  succeeded, 
and  kept  it  till,  by  a  ncAV  regulation,  that  jilace  of  con- 
finement was  merged  into  the  new  jail.  Having  lost  his 
employment,  and  having  been  all  his  life  too  generous  to 


230        General.  Theatrical  Keminiscences. 

"be  very  provident,  lie  fell  under  the  pressure  of  pecuniary 
want,  from  which  his  friends  relieved  him. 

"  He  was  advised  to  see  company,  or^  in  other  words,  to 
'show'  himself  for  his  future  emolument ;  an  expedient 
to  which,  though  he  was  extremely  averse,  he  at  last  con- 
sented. He  arrived  at  Stamford,  and  sent  a  message  to 
the  printer  with  the  request  that,  "  as  the  mountain  could 
not  wait  on  Mahomet — Mahomet  would  come  to  the  moun- 
tain," or,  in  other  words,  that  the  printer  Avould  call  upon 
him  and  receive  an  order  for  executing  some  handbills 
announcing  Mr.  Lambert's  arrival  and  desire  to  see  com- 
pany. 

"  The  orders  he  gave  showed  no  presentiment  that  they 
were  to  be  his  last,  but  were  delivered  Avith  his  usual  cheer- 
fulness. He  retired  to  his  bed — he  had  no  indisposition, 
only  a  sense  of  fatigue — but  before  nine  o'clock  the  next 
morning  he  was  dead.  His  corpulency  had  increased  till 
the  machinery  of  life,  clogged  with  flesh  and  fat,  stood 
still !  Ujion  being  weighed,  his  weight  Avas  found  to  be 
f^even  hundred  and.  twenty-eiglit  pmmds  !  His  coffin,  in 
which  he  was  with  great  difficulty  placed,  was  six  feet  four 
inches  long,  four  feet  four  inches  wide,  and  two  feet  four 
inches  deep.  It  consisted  of  one  hundred  and  twelve 
superficial  feet  of  elm-wood,  and  was  fixed  upon  two  axle- 
trees  and  four  clog  wheels,  and  on  that  he  was  rolled  to 
the  grave ! " 


o' 


Capacity  of  the  Museum  in  its  Early  Days. 

In  the  early  days  of  the  Museum  the  accommodations 
for  theatrical  representations  were  rather  limited,  there 
being  only  a  small  sized  auditorium  and  stage  arranged  on 
tli(!  east  side  of  the  third  story,  the  auditorium  accommo- 
dating some  three  or  four  hundred  persons.  The  class  of 
entertainments  were  light  vaudevilles,  farces,  singing,  danc- 
ing, phantasmagoria  exhibitions,  ventriloquism,  sleiglit- 


General  Theatrical  RemiiNiscences.        231 

of-hand,  with  such  other  novelties  as  were  supposed  to 
possess  the  all-important  requisite  in  a  manager's  eye,  that 
of  drawing ! 

Many  actors  and  actresses  made  their  dehut  at  the 
Albany  Museum,  on  this  seven-by-nine  stage,  who  in  later 
years  became  quite  noted,  as  well  as  great  favorites,  in  the 
theatrical  pi'ofession,  among  whom  we  will  name  the  fol- 
lowing :  E.  Eddy,  Charley  Kane,  Sidney  Smith,  Mary 
Gannon,  ]SIary  Wells,  etc. 


CHAPTER  XLV. 

The  Albany  Museum. 

Xew  Dramatic  Departmext — Its  OrnamentatIjOns — Sigxor  Gui- 
DiNi,  the  Celebrated  Scenic  Artist  —  John  M.  Trimble, 
Architect — Opening  Address  of  C.  W.  Taylor — Xames  op 
Different  Managers. 

The  dramatic  department  of  the  Museum  was  enlarged 
by  the  addition  of  the  two  adjoining  buildings  north,  and 
the  celebrated  theatre  architect,  the  late  John  M.  Trimble, 
employed,  and  in  an  unprecedentedly  brief  period  the  en- 
tire upper  stories  of  the  adjoining  buildings  were  trans- 
formed into  a  very  spacious  theatre,  which  was  subse- 
quently denominated  "  Museum  Saloon."  The  auditorium 
was  of  sufficient  capacity  to  easily  accommodate  tifteen 
hundred  people,  and  consisted  of  a  parquette,  family  circle, 
with  proscenium  or  private  boxes,  elegantly  and  elaborately 
furnished. 

The  orchestra,  though  not  extensive,  (forming  a  promi- 
nent and  pleasing  feature,)  was  under  the  leadership  of 
the  late  Ljpwy  Underner,  assisted  by  our  well  known  musi- 
cal artist,  Richard  J.  Carmody,  the  popular  organist  of  the 
Catliedral. 

Tlie  stage  was  quite  ample,  sufficiently  so  to  produce 
extensive  spectacular  and  other  heavy  pieces  in  all  their 
completeness.  The  frescoing  and  ornamentations  througli- 
out  were  the  work  of  the  famed  Italian  artist,  Signor 
Guidini,  who  decorated  the  old  National  Opera  House, 
New  York,  so  universally  celebrated  as  a  cJief  d'  ouvre  in 
sister  art. 


General  Theatrical  Reminiscexces.        233 

The  outlay  in  effecting  the  entire  improvement  amounted 
to  between  nine  and  ten  thousand  dollars. 

It  was  opened  to  the  public  for  the  first  time,  on  the 
evening  of  February  1st,  1841,  and  presented  an  appear- 
ance of  extreme  beauty  and  elegance.  Charles  TV.  Taylor, 
musical  director  and  vocalist,  delivered  the  following  open- 
ing ADDRESS,  which  met  with  a  warm  response  from  the 
large  and  fashionable  auditory: — 

"  Ladies  axd  Gextlemex  : 

"  I  have  been  requested  to  step  forward  in  my  official 
capacity,  on  the  opening  of  this  new  and  elegant  Saloon, 
to  offer  a  few  words  of  explanation  to  the  generous  friends 
who  have  to-night  extended  to  us  their  favor  and  their 
patronage. 

"  It  cannot  be  denied,  ladies  and  gentlemen,  that  the 
regular  drama  has  ceased  to  be  a  favorite  object  with  the 
citizens  of  Albany,  and  I  may  add  elsewhere  ;  and  he  is  a 
bold  speculator  who  would  venture  an  outlay  of  capital  on 
any  attempt  to  revive  dramatic  taste  amongst  them. 

"  The  numerous  lectures,  the  vast  increase  of  books  and 
periodicals,  the  various  absorbing  topics  which  now  en- 
gross public  attention,  have  left  but  little  space  for  the 
successful  operation  of  dramatic  literature,  and  the  closet 
or  the  lecture  room  has  now  nearly  superseded  the  once 
prevalent  and  all-powerful  influence  of  the  histrionic 
stage. 

"  It  must  be  admitted  that  most  people  have,  at  one 
time  or  other,  been  pleased,  excited  and  benefited  by  the 
noble  productions  of  its  master-spirit — Shakspeare — whose 
works  cannot  now  keep  the  stage,  is  still  the  theme  of 
critical  wonder — the  storehouse  from  which  the  pulpit  and 
the  rostrum  still  draws,  as  they  ever  must,  their  choicest 
and  most  elegant  illustrations. 

"True  it  is,  the  management  and  discipline  of  the 
drama,  not  always  having  fallen  into  goods  hands,  its  true 


234       General  Theatrical  Eemimscences. 

design  has  been  perverted,  and  its  native  moral  tendencies 
changed.  Yet  all  acknowledge,  if  its  abuses  could  be 
efll'ctually  guarded  against,  it  would  still  be  an  object 
worthy  the  admiration  and  encouragement  of  the  most 
fastidious.  It  is  also  true  that  a  taste  for  dramatic  art 
exists  to  a  very  great  extent  in  some  parts  of  this  country 
and  in  Europe — and  thongh  the  theatres  in  themselves 
have  ceased  to  attract — yet  private  theatricals  a  tableaux — 
living  picture — are  now  more  prevalent  than  ever. 

"  The  proprietors  of  the  Albany  Museum  intend,  as  far 
as  possible,  to  evade  the  difficulties  which  have  proved  so 
fatal  to  places  of  amusement  in  this  city.  This  Saloon  is 
intended  for  exhibitions  in  musical  science — lectures  on 
art  and  on  science — display  of  extraordinary  skill  in  scien- 
tific illusions,  and  for  the  occasional  representation  of  that 
peculiar  kind  of  drama  known  as  the  French  Vaudeville, 
in  which,  generally  a  single  scene,  conception  of  the  author, 
together  with  the  neat  and  skilful  personification  of  the 
characters  he  has  sketched,  form  the  sole  attraction. 

"  Vulgarity  has  no  place  in  the  true  Vaudeville,  it  is  a 
species  of  living  painting,  that  imparts  no  offence  to  the 
eye  or  the  ear,  to  the  most  particular  auditor  or  the  most 
sedate. 

"  The  proprietors,  therefore,  disclaiming  any  wish  or  in- 
tention to  make  theatrical  amusement  their  exclusive 
object,  will  offer,  from  time  to  time,  such  chaste  and  pleas- 
ing productions  as  may  be  free  from  the  charges  which 
have  been  made  against  the  regular  theatre,  and  in  too 
many  instances  not  without  a  cause. 

"  The  character  of  those  Avho  will  appear  on  this  stage, 
the  proprietors  trust,  Avill  prove  a  further  guarantee  of 
the  sincerity  of  these  expressions,  and  to  this  particular 
test  they  invite  public  and  individual  scrutiny. 

"  In  the  adjoining  rooms  will  be  found  collected  the 
treasures  of  art  and  of  nature,  which  continue  to  form  a 


General  Theatrical  Eeminiscences.        235 

prominent  feature  in  the  attractions  of  the  evening — wliile 
here,  the  melody  of  song,  the  inspiration  of  harmony,  Avit 
and  humor  of  the  passing  scene,  will  merit  commendation, 
and  challenge  tlie  patronage  of  our  enlightened  and  liberal 
communitv." 


CHAPTER  XLVI. 

The  Albany  Museum. 

Anecdote  of  Brandon,  the  Actor — Dennis  Mahonet  —  Yariotjs 
Managers  —  List  of  the  Various  Companies— Death  of  H. 
T.  Meech. 

There  were  many  very  amusing  scenes  and  incidents 
connected  with  the  Museum  to  which  we  would  like  to 
refer,  did  room  permit.  We  will,  however,  relate  one  lit- 
tle episode,  on  account  of  its  having  created  more  real 
amusement  than  probably  the  best  farce  ever  represented 
on  the  Museum  boards. 

It  is  pretty  well  known,  that  some  few  years  since,  a 
young  painter  of  the  name  of  Dennis  Mahony,  resided 
in  Albany,  and  was  in  the  employ  of  Joseph  Davis,  at  the 
time  extensively  engaged  in  the  painting  business.  Den- 
nis usually  executed  most  of  the  fancy  sign  painting,  and 
priding  himself  upon  his  taste  and  talent  as  an  artist,  made 
it  an  invariable  practice  of  painting  in  small  lettei;s  at  the 
bottom  of  the  sign  "  Mahony  for  Davis."  Attached  to 
one  of  the  various  stock  companies  at  the  Museum  was  an 
actor  by  the  name  of  Brandon,  who,  while  enacting  a 
rather  lengthy  part,  to  use  a  stage  parlance,  "got  stuck" 
in  the  middle  of  an  important  sentence  which  required 
'rapid  and  loud  utterance.  Brandon  waited  some  time  for 
the  prompter's  cue,  but  in  vain.  At  length  a  Avell  known 
wag  sitting  in  the  parquette  near  the  stage,  directly  in 
rear  of  Mi*.  Carmody,  the  pianist,  discovering  the  dilemma 
of  the  actor,  placed  one  hand  to  the  side  of  his  month  in 


General  Theatrical  Reminiscences.       237 

order  the  more  effectually  to  throw  his  voice  upon  the 
stage,  sang  out,  "  say  Mahony  for  Davis ! "  Brandon  be- 
ing a  good  deal  confused  and  thinking  it  the  voice  of  the 
prompter,  instantly  exclaimed  in  a  loud  tone  of  voice — 
"  Mahony  fn-  Davis  !"  It  is  scarcely  necessary  to  say  the 
entire  audience  were  thrown  into  inordinate  shouts  of 
laughter,  accompanied  with  round  after  round  of  deafen- 
ing applause,  lasting  several  minutes.  Brandon  often 
boasted  that,  "  after  all,  it  was  the  only  good  or  ^ja//>ft5Ze 
hit  he  ever  made  on  the  stage." 

Names  of  some  of  the  Prominent  Members 

OF  THE  VARIOUS  DRAMATIC  COMPANIES  ATTACHED  TO  THE 

MUSEUM. 

We  close  our  rather  imperfect  sketch  of  the  Albany 
Museum,  by  giving  the  names  of  some  of  the  prominent 
members  of  the  various  dramatic  companies  attached  to 
its  dramatic  department  from  1834,  '5  and  '6,  most  of 
them  familiar  not  only  to  the  old  patrons  of  this  once  fa- 
vorite place  of  amusement,  but  to  the  play-going  public 
at  large. 

E.  Eddy,  C.  W.  Tnylor,  Charley  Kane,  Gillespie,  William 
Ellis,  James  Can  noil,  C.  T.  Smith,  William  Warren,  J.  B, 
Bice,  Thompson,  Sprague,  Kent,  Mr.  and  Mrs.  Hendrick- 
son,  Mr.  and  Mrs.  Skerrett,  Mr.  and  Mrs.  P.  F.  Stone, 
Brandon,  Purdy,  Lingard,  Tom  Tyrrell,  Fleming,  George 
Barton,  Mary  Wells,  Mary  Gannon — both  afterwards  at- 
tached to  Wallack's  Theatre — Bland,  Languish,  John 
Drew,  Frank  Drew,  Mr.  and  Mrs.  Harry  Hunt,  (Mrs.  John 
Drew),  Mr.  and  Mrs.  Isherwood,  Mr.  and  Mrs.  Harry  Lov- 
ell,  D.  Myron,  Lewis,  Charley  Salsbury,  Ponissi,  Joe  Parker, 
Kelly  (U.  S.  Marshal),  Charley  Mestayer,  Germen,  George 
Mossop,  Mike  Hennessy,  J.  0.  Sefton,  Mrs.  Meader,  Mrs. 
Vernon,  Mrs.  Bradshaw,  Miss  E.  Dearing,  Mrs.  and  Miss 
Georgiana  Kenlock,  Mrs.  Wray,  Miss  St.  Clair,  Julia  Turn- 


238        General  Theatrical  Eeminiscexces. 

bull,  the  Missos  Emmons,  diinseuses,  and  hosts  of  others 
whose  names  we  do  not  now  remember. 

The  Albany  Museum,  from  1833  to  the  final  closing  of 
the  establishment  about  the  year  1856  or  '7,  was  under  the 
manao-ement,  for  short  seasons,  of  various  individuals,  viz  : 
Henry  Trowbridge.  Trowbridge  &  Meech,  Meech  &  Van- 
derwater,  (R.  J.),  George  Randall,  John  Fursman,  John 
Bell,  the  celebrated  Taxidermist,  Meech  &  Canoll,  (James 
Canoll,  the  actor,)  F.  M.  Kent,  Skerrett  &  Anderton,  and 
lastly  and  alone,  Henry  T.  Meech. 

Death  of  Henry  T.  Meech. 

Mr.  ]\[eecli  died  at  Hartford,  Conn.,  in  1870.  Some  two 
months  previous  to  his  death,  the  family  and  immediate 
friends  of  Mr.  Meech  were  startled  by  the  sudden  breaking- 
down  of  his  physical  powers,  und  the  serious  impairment 
of  his  mind.  His  recovery  was  regarded  by  liis  attending 
phvsicians  as  extremely  doubtful,  and  it  was  deemed  prac- 
ticable to  remove  him  to  Hartford,  Conn.,  where  two  of 
his  sons.  Rev.  Robert  H.  and  Charles  E.  Meech  reside. 
Some  time  before  his  death,  the  cloud  which  had  tempo- 
rarily dimmed  his  faculties  passed  away,  but  left  him  so 
far  exhausted  physically  that  he  continued  to  sink  rapidly 
till  the  hour  of  his  death.  He  suffered  but  little  during 
his  illness;  and  in  its  early  stages  he  had  strong  presenti- 
ments that  his  decease  was  near  at  hand. 

Henry  T.  Meech  was  born  in  AVorthington,  Mass.,  in 
May,  1805,  and  Avas  consequently  in  the  sixty-sixth  year 
of  liis  age  at  the  time  of  his  death.  He  came  to  Albany, 
N.  Y.,  at  the  age  of  sixteen,  and  found  employment  with 
liis  uncle,  Henry  Trowbridge,  who  was  proprietor  of  the 
Albany  Museum.  From  the  small  pittance  allowed  him 
as  a  salary  he  managed  to  lay  up  something  for  emergen- 
cies, and  in  a  few  years  had  so  far  mastered  the  business 
of  the  Museum  as  to  earn  for  himself  its  sole  proprietor- 
ship.    UiKU'r  his  mauagemeut  the  Museum  flourislied,  and 


General  Theatrical  Remixiscexces.        239 

many  of  the  finest  actors  and  actresses  the  country  has 
known,  made  their  advent  under  his  auspices,  and  remem- 
ber him  with  kindness.  Among  the  dramatic  profession 
it  is  known  of  liim  tliat  he  never  failed  to  pay  salaries 
when  they  were  due, — a  record  of  which  but  comparatively 
few  theatrical  managers  can  boast.  While  yet  the  youth- 
ful manager  of  the  Museum,  he  was  married  to  Miss  Ade- 
line Hondrickson,  daughter  of  the  late  venerable  John 
Hendrickson,  of  Alban}',  a  lady  of  marked  personal  beauty 
and  fine  womanly  character,  Avho  ])ore  him  nine  children, 
eight  of  whom  are  still  living.  For  several  years  he  was 
the  proprietor  of  a  line  of  canal  boats  which  plied  between 
this  city  and  Butfalo,  and  for  some  time  he  conducted 
an  extensive  manufacture  of  oilcloths.  In  various  other 
departments  of  business  he  figured  with  varying  suc- 
cess, and  triumphs  and  reverses  alternated  with  him — 
the  latter,  generally  attributable  to  over-confidence  in 
friends — till  he  resolved  to  "  go  west,"  casting  his  lines  in 
Buffalo.  Even  while  suffering  from  a  financial  embarrass- 
ment which  would  have  sadly  demoralized  most  men,  he 
built  in  Buffalo  the  Metropolitan  Theatre,  now  the  Acad- 
emy of  Music;  and  the  great  improvement  of  that,  at  an 
early  day,  he  had  determined  upon  only  a  few  months 
previous  to  his  death.  In  1858  he  moved  to  Buffalo  Avith 
his  family  and  assumed  the  proprietorship  of  the  Wads- 
Avorth  House,  now  the  Continental  Hotel.  Shortly  after 
his  Avife  died,  and  her  memory  he  ahvays  held  in  the  lofti- 
est: veneration.  Mr.  Meech's  life  had  been  an  eventful  one, 
and  be  Avas  Avont  to  revicAV  it  circumstantially,  to  his  friends 
Avith  a  good  deal  of  satisfaction  ;  and  as  it  drcAv  near  its 
close  he  derived  much  consolation  from  his  devotion  to 
his  family,  and  from  his  success  in  providing  for  their  fu- 
ture comfort.  Two  of  Mr.  Meech's  sons,  John  H.  and 
Henry,  inheriting  the  tact,  energy  and  enterprise  of  their 
father,  are  the  present  popular  managers  of  the  Buffalo 
Academv  of  Music. 


CHAPTER  XLYII. 

Origin  of  Negro  Mixstrelsy — First  Effort  made  at  the  Albany 
Green  Street  Theatre  by  "  Hop."  Robinson — "  Daddy,  or 
Jim  Crow  Eice" — George  Washington  Dixon — Xed.  Christy 
—His  Popclar  Music — He  Acccmclates  a  Large  Fortune — 
His  Melancholy  Death  ! 

The  Atlantic  Monthly,  some  time  since,,  in  an  article  on 
the  subject  of  negro  minstrelsy,  gave  S.  C.  Foster  the 
credit  of  being  the  originator  of  negro  minstrelsy,  which 
was  by  no  means  correct.  The  negro  song,  entitled  the 
"Battle  of  Plattsbnrgh,"  commencing  with — 

'•  Back  side  Albany  standee  Lakey  Champlain, 
A  leetle  poud  half-full  ob  -water," 

was  sung  first — as  we  are  informed  by  an  old  friend  who 
is  well  posted  in  matters  of  this  kind — at  the  old  Green 
Street  Theatre  in  this  city,  by  a  member  of  the  theatrical 
company,  of  the  name  of  '•  Hop."  Eobinson,  which  is  about 
the  only  truthful  statement  made  by  the  Atlantic  in  rela- 
tion to  the  origin  of  negro  minstrelsy ;  and  after  this  event 
scarcely  anything  of  account  was  heard  of  in  this  class  of 
music  for  many  years.  George  Washington  Dixon  was  the 
first  who  made  anything  like  a  feature  of  it  in  his  song  of 
"  Coal  Black  Rose,"  "  Long  Tailed  Blue,"  etc.,  which  he 
sang  in  full  character,  and  with  great  eclat,  in  New  York, 
at  the  old  North  Pearl  Street  Circus,  and  in  Albany,  at  the 
old  Sou  til  Pearl  Street  Theatre.  "  Daddy  Rice,"  as  he  was 
called,  did  not  make  his  advent  until  after  Dixon  was 
•'played  out,"  when  Rice  introduced  the  song  and  dance 


Gexp:ral  Theatrical  Keminiscences.        241 

of  ^' Jim  Crow,"  which  created  an  immense /wrore  at  the 
old  I^ew  York  Bowery  for  a  long  time.  Eice,  after  mak- 
ing a  professional  tour  of  the  States,  went  to  London,  where 
his  success  was  equally  great.  He  accumulated  a  hand- 
some competency  in  this  line  of  business,  but  soon  squan- 
dered it,  dying  very  poor.  After  Kice's  exit,  many  efforts 
were  made  by  itinerant  aspirants  to  introduce  minstrelsy, 
but  they  proved  miserable  failures.  Ned.  Christ}^  success- 
fully revived,  and  gave  the  coup  de  grace  to  negro  min- 
strelsy, as  the  thousands  who  have  listened  with  delight  to 
his  inimitable  troupe  in  their  palmy  days,  can  fully  attest. 
The  credit  is  solely  due  to  Christy  for  rendering  negro 
minstrelsy  the  most  popular  amusement  of  the  age.  His 
beautiful  and  heart-melting  melodies  were  once  the  ac- 
cepted and  favorite  music  in  the  parlors  of  the  wealthy 
and  fashionable  of  that  day.  Christy  inaugurated  min- 
strelsy at  Buffalo,  with  an  old  banjo  and  a  very  seedy  Avard- 
robe,  but  a  large  amount  of  indomitable  energy  as  his 
capital.  He  made  his  debut  at  Harry  Meech's  Museum 
with  a  troupe  of  three  or  four  persons,  and  after  playing  a 
short  time  at  this  establishment  Avith  indifferent  success, 
went  to  New  York,  leased  and  fitted  up  Mechanics'  Hall, 
on  Broadway,  the  enterprise  being  attended  with  unprece- 
dented success,  and  enabling  him  in  a  short  time  to  retire 
upon  an  ample  fortune ;  Avhieh,  hoAvever,  he  did  not  long 
enjoy,  as  the  poor  felloAv  AA'as  killed  by  falling  from  the 
three-story  Avindow  of  his  residence  on  Fifth  avenue,  a  fcAV 
years  ago. 
16 


CHAPTER  XLVIII. 

"  Lord  Adancourt "  and  C****  F*****. 
A.   Highly   Sensational   Farce   in   the   palmy  days   of  Miss 

C****— How  SHE  SUCCEEDED  AS  A  FISHER-WOMAN  IN  CATCH- 
ING A  Sprig  of  one  of  the  F.  F.  A.  (First  Families  of 
Albany)  by  the  Gills. 

Notwithstanding  the  events  related  in  the  subjoined 
sketcli  occurred  many  years  ago,  and  Avas  published  at  the 
time  in  a  journal  with  Avhich  the  Avriter  was  connected, 
we  trust  the  ventilation  of  this  affair,  which  caused  no 
little  sensation  at  the  time,  especially  among  "  good  soci- 
ety," will  be  none  the  less  acceptable  now,  at  least  to  those 
who  doubtless  remember  the  circumstances,  as  well  as  the 
actress  and  actors  who  assumed  the  principal  roles  in  this 
most  amusing  farce. 

We  would  here  remark,  en  passant,  that  meeting  the 
lamented  William  Cassidy  on  the  street  a  short  time 
previous  to  his  decease — it  being  the  last  time  we  had  the 
pleasure  of  speaking  to  him — in  the  course  of  our  conver- 
sation he  referred  to  the  "Lord  Adancourt"  affair,  re- 
marking that,  "  were  it  properly  dressed  up,  it  would  form 
an  amusing  feature  in  our  work."  Acting  partly  upon 
his  suggestion,  therefore,  we  concluded  to  give  it  a  place. 

There  is  magic  in  the  name,  the  theme  of  criticism,  the 
universally  admired  actress  and  the  accomplished  lady; 
she  wiio  has  been  the  subject  of  poetry,  flattery  and  acros- 


Gknekal  Theatrical  Rejiiniscences.        243 

tic — who  is  not,  if  Ave  are  to  believe  tlie  expressions  of 
her  admirers,  mere  Avomaul}'  flesh  and  blood,  but  an 
angel,  yea,  verily,  a  real  angel,  a  theatrical  Peri — such  a 
one  as  Tommy  Moore  sang  of  when  he  complimented  the 
inhabitants  of  Heaven  bv  raising  to  the  skies  the  earthlv 
passion  of  love.  Yet  C****,  notwithstanding  all  that  has 
been  wi-itten  and  sung  about  her,  has  been  the  admired 
actress  of  one  farce  which  we  have  never  seen  noticed  in 
the  public  prints. 

A  young  gentleman  claiming  to  be  a  sprig  of  good 
society,  (C B — n,)  who  shoved  a  goose-quill,  (not  ex- 
actly as  ive  do,  for  a  living,)  fancied  himself  irresistible  in 
love  affairs,  and  determining  to  become  the  Paris  of  Go- 
tham and  rob  the  theatre  of  its  Helen  in  the  person  of  Miss 
C****,  exchanged  the  gloomy  apartments  of  his  fatlier's 
mansion,  (old  Schuyler  mansion,)  for  lodgings  at  one 
of  our  most  fashionable  and  elegant  hotels  in  Albany,  pro- 
cured an  introduction  to  the  F*****  family,  and  was  at 
once  pronounced  the  most  elegant  and  accomplished 
young  gentleman  this  side  of  the  Atlantic. 

Lord  Adancourt  on  the  Hook. 
The  young  F*****  had  him  upon  the  hook,  and  he,  poor 
fellow,  was  determined  not  to  let  go  his  bait.  At  dinner  it 
was  champagne  and  porter,  and  porter  and  champagne, 
until  the  purse  of  the  quill-driver  felt  that  it  was  like 
what  nature  abhors,  viz.:  a  vacuum!  Out  of  cash,  but 
not  destitute  of  credit,  tick  wastiie  order  of  the  day  until 
mine  host  had  become  convinced  that  the  man  of  quills 
was  also  a  man  of  letters,  for  he  had  become  deeply  ac- 
quainted Avith  his  hooks!  Mine  host,  however,  perceived, 
or  fancied  he  perceived,  that  there  was  something  very 
like  symptoms  of  a  mutual  affection  between  F*****  and 
Adancourt.  This  was  enough  for  hiin  ;  and  as  Adan- 
court was  not  troubled  witli  '"dun-tish,"  and  credit  Avas 
good,  matters  Avent  on  "sAvimniinglv" 


244       General  Theatrical  Eemixiscences. 

G-oing  to  Saratoga. 

After  the  termination  of  the  tlieatrical  engagement,  a 
jaunt  to  Saratoga  Springs  was  proposed  ;  and  as  a  noble- 
man was  a  great  bait  of  attraction  in  the  eyes  of  the  "  upper- 
tendom,"  especially  both  upon  the  male  and  female  sides 
of  the  question,  "  the  actress  of  all  Avork,"  at  no  loss  of 
invention  and  ingenuity  in  the  clianging  of  characters, 
aided  by  mine  host  and  the  way-bill  of  the  post  coach 
line — no  railroads  or  Pullman  palace  cars  in  those  days — 
transformed  the  driver  of  quills  into  an  English  nobleman, 
with  the  hidi  sounding  title  of  Lord  Adaxcourt  !  !  ! 
Upon  one  fine  sunshiny  morning,  off  started  the  cavalcade, 
bearing  with  them  the  newly-made  patent  English  lord. 

Arrival  at  Saratoga. 

Arrived  at  the  Springs,  C****  played  off  the  game  with 
admirable  tact,  and  outshone  every  actress  in  the  scene  in 
carrying  out  the  belief  that  our  hero  was  a  real  lord !  He 
was  a  lord;  and  in  addition  to  his  being  a  lord,  he  was  a 
lover  that  had  crossed  the  Atlantic  for  love  of  her,  and  a 
real  English  lord  ;  and  what  was  more  passing  strange  and 
wonderful,  he  was  a  lord  in  love!  Champagne,  with  the 
lady  of  tlie  lord  in  love ;  porter,  with  tlie  mother  and 
brother  of  the  lady  of  his  love,  was  the  rule  and  practice 
with  my  lord.  Of  such  astonishing  celebrity  had  he  be- 
come, that  the  moment  he  appeared  upon  the  piazza  every 
adjoining  window  was  raised,  and  many  a  beauteous  belle 
inwardly  sighed  for  the  smiles  of  the  gallant,  accomplished, 
and  fascinating  nobleman.  But  to  one  star,  and  to  one 
only,  did  he  bend  in  humble  adoration,  and  that  star  did 
he  worship  with  the  devotion  of  a  Persian  at  the  shrine 
of  the  sun. 

The  ladies  smiled  upon  him,  the  gentlemen  courted  his 

acquaintance  with  the  greatest  assiduity,  the  dandies  imi- 

.tated  him,  and  the  negroes,  as  he  passed  or  exhibited  hirn- 


General  Theatrical  Reminiscences.        245 

self  upon  the  piazza,  refrained  from  pitching  cents,  and 
rolling  up  the  whites  of  their  eyes  with  most  expressive 
grins,  scratched  their  woolly  heads,  and  swore  by  the 
"geminy  hokey,  dere  was  de  Inglish  lord  wat  was  acourten 
de  bootiful  and  accomplis  Missy  F****  "  In  fact,  no  per- 
son ever  excited  so  much  attention  on  this  side  of  the 
ocean  as  did  Lord  Adancourt ;  not  even  excepting  Tobias 
Morgan  and  La  Fayette.  Toby,  Avho  was  at  the  Springs, 
was  the  oracle  of  the  colored  gentr}',  and  as  he  had  Avaited 
upon  La  Fayette,  and  had  even  been  seen  familiarly  con- 
versing wath  a  lord,  Toby  was  at  the  highest  pitch  of 
African  glory.  He  was  a  wag,  and  his  mysterious  man- 
ner of  talking  about  the  nobleman,  contributed  nothing 
to  allay  the  ferment.  Through  the  agency  of  Lord  Adan- 
court and  Toby,  the  Springs  became  the  scene  of  a  real 
Morgan  excitement. 

"  Tobe  "  Morgan  was  a  "  character,"  as  many  of  our  old 
denizens  will  remember,  Avho  prided  himself  upon  his  ^oZ- 
ished  looks  and  good  manners. 

The  funds  of  my  lord  at  last  became  exhausted.  After 
numerous  ineffectual  attempts  to  borrow  or  procure  the 
acceptance  of  a  draft,  he  at  last  hit  upon  a  happy  and  suc- 
cessful expedient,  and  wrote  to  mine  host  of  the  hotel, 
"  that  affairs  went  on  charmingly,  he  was  in  town,  and 
C****  would  shortly  gently ^or^/  with  him  into  the  clear 
and  transparent  waters  of  matrimonial  felicity."  Mine 
host  was  hooked,  and  after  some  little  hesitation  forwarded 
the  money,  and  Lord  Adancourt  again  shone  in  undimin- 
ished and  regenerated  splendor. 

The  time  for  a  return  soon  came,  but  no  news  of  the 
wedding  had  yet  reached  the  ears  of  the  impatient  host 
of  the  hotel.  His  eves  Avere  soon  delia^hted.  how-uver,  with 
the  forms  of  his  happy  visitors  returning  from  the  Springs. 

Lord  Adancourt  still  held  out  fair  inducements — but 
alas,  alas,  that  the  farce  should  have  so  tragical  and  lim- 
ifced  a  conclusion !     The  right  honorable  and  noble  Lord 


24G        General  Theatrical  Reminiscences. 

gallanted  his  charmer  to  the  steamboat  on  her  way  to  New 
York,  and  sighed  a  sorrowful  and  an  affectionate  farewell. 

The  actress  went  to  the  South  again  to  delight  the  the- 
atrical world,  and  Lord  Adancourt  retired  to  his  solitary 
sanctum  to  chew  the  bitter  cud  of  disappointment,  to  re- 
flect upon  the  uncertainty  of  all  sublunary  things,,  and, 
above  all,  the  fickleness  of  woman ! 

Thus  ended  the  "  farce."  The  landlord  subsequently 
arranged  the  affair,  and  the  "patent  right,"'  honorable  and 
noble  Lord  Adancourt  became  a  persevering  driver  of  the 
gray  goose-quill. 

"  Oh,  my  countrymen!  what  a  fall  was  there!" 


Lord  Mortimer. 

In  speaking  of  Lord  Adancourt,  we  are  reminded  of 
quite  a  sensational  event  that  occurred  in  Albany  about 
the  time  the  C****  F*****  and  Lord  Adancourt  farce  was 
enacted.  A  dashing  young  Englishman  paid  Albany  a 
visit,  passing  himself  off  as  "  Lord  Mortimer,"  and  by 
his  highly  polished  and  insinuating  address  soon  ingra- 
tiated himself  in  the  good  graces  of  several  members  of 
fashionable  society,  playing  liis  game  so  successfully  as  to 
swindle  them  out  of  large  sums  of  money  in  the  shape  of 
accommodation  "  bank  checks,"  "  promises  to  pay,"  etc. 
This  Lord  Mortimer  repeated  his  swindling  game  in  New 
York  and  other  large  cities  with  equal  success. 


CHAPTER   XLIX. 

Caroline  Richings. 

Her  Arrival  in  America  when  a  mere  Child— Is  Adopted  as  the 
Daughter  of  Peter  Richings — Her  debut  at  Philadelphia  as 
A  Pianist — Her  first  appearance  in  Opera — Her  appearance 
in  Albany  at  Meech's  Museum  in  Her  early  career — at  a 

LATER  DATE  AT  THE  GREEN  STREET  GaYETY  ThEATRE — ShE  OR- 
GANIZES THE  Richings'  English  Opera  Troupe — Is  Married  to 
P.  Bernard,  the  Vocalist. 

The  private  and  professional  character  and  career  of 
this  highly  accomplished  lady,  eminent  vocalist,  and 
sprightly  comedian,  is  so  well  and  favorably  known  and 
appreciated,  not  only  in  Albany  but  throughout  our  land, 
that  it  would  be  simply 

"  To  gild  refined  gold, 

To  paiut  the  lily, 

Or  add  new  perfume  to  the  rose," 

to  give  more  than  a  brief  sketch  of  her  rather  eventful 
private  and  professional  career. 

Caroline  Richings  was  born  in  England — not  in  Phila- 
delphia, as  has  been  supposed  by  many — coming  to  this 
country  with  her  parents  when  a  mere  child,  and  was  soon 
afterwards  adopted  as  his  daughter  by  the  late  lamented 
Peter  Richings,  and  he  loved  and  cherished  her  Avith 
as  much  sincerity  as  thoucjh  she  was  of  his  own  flesh  and 
blood.  Peter  Richings  came  to  America  in  1831,  making 
his  debut  at  the  Park  Theatre,  New  York.  His  name, 
as  well  as  that  of  Caroline,  has  been,  for  over  a  quarter  of 


24tS        General  Theatrical  Eeminiscences. 

a  century,  as  familiar  to  the  public,  and  particularly  to 
Albany,  as  household  words. 

It  Avould  seem  that  Caroline  Richings  made  her  first 
appearance  before  the  public  of  Philadelphia,  as  a  pia- 
nist at  a  Grand  Concert  of  the  Philiharmonic  Society,  at 
Musical  Fund  Hall,  in  1847.  Her  first  appearance  on  the 
regular  stage  was  at  the  AValnut  Street  Theatre,  in  1852,  in 
the  opera  of  "The  Child  of  the  Eegiment."  As  a  come- 
dienne. Miss  Richings  appeared  as  Stella  in  the  comedy  of 
the  Prima  Donna,  a  piece  first  played  in  this  country  for 
the  benefit  of  Mr.  Richings. 

Her  first  appearance  in  Italian  opera  was  in  Philadel- 
phia, in  1857,  in  the  opera  of  Norma,  at  the  Academy  of 
Music,  and  produced  a  very  iavorable  impression  upon  the 
elite  of  society  in  tlie  Quaker  city.  From  this  time  she 
rose  rapidly  as  an  opera  singer,  ranking  among  the  first 
musical  artists  in  this  country.  At  the  opening  of  the 
dramatic  season  of  the  Walnut  Street  Theatre,  Philadel- 
phia, 1857-8,  she  became  a  permanent  member  of  the 
company,  in  which  position  she  remained  till  1859.  Since 
that  time  she  traveled  as  a  "  star,"  and  lastly  as  manageress 
of  the  Richings'  English  Opera  Troupe;  she  was  for  two 
seasons  a  prominent  member  of  the  Parepa  Opera  Com- 
bination Troupe.  In  18G7,  Miss  Richings  was  married  in 
Boston,  to  P.  Bernard,  the  vocalist. 

Peter  Richings  and  his  daughter,  in  their  earlier  days, 
frequently  appeared  at  the  Albany  Museum  in  light  musi- 
cal pieces  and  comedy,  never  failing  to  meet  with  excellent 
success.  At  later  dates,  Mr.  and  Miss  Richings  played  very 
lengthy  and  profitable  engagements  at  the  Albany  Green 
Street  Gayety  Theatre.  The  last  appearance  of  this  charm- 
ing vocalist  and  comedienne  in  Albany,  was  at  the  Trim- 
ble Opera  House,  1872,  when  the  Enchantress,  and  other 
popular  operas  were  produced  with  fine  eifect  and  success. 


CHAPTER   L. 

Mrs.  Scott  Siddons. 

Her  Relatioxship  to  the  great  English  Actress,  Mrs.  Siddons — 
Her  early  Inclination  for  the  Stage  or  the  Drama— Her 
first  appearance  in  a  small  French  Play  in  Germany — Her 
subsequent  success  in  the  Plays  of  the  great  Schiller,  Ra- 
cine, AND  other  distinguished  Play-writers — Her  Debut  in 
America — Her  appearance  in  Albany  as  an  Actress  and 
Reader, 

Few  members  of  the  theatrical  profession,  or  lecturers 
and  readers,  have  secured  so  large  a  number  or  warmer- 
hearted  friends  and  admirers,  particularly  among  the  elite 
of  Albany,  than  this  remarkably  beautiful  woman  and 
uneqnaled  comedienne  and  tragedienne  —  in  proof  of 
which  it  is  only  necessary  to  refer  to  the  very  numerous 
and  fashionable  audiences  that  greeted  her  appearance 
during  her  several  engagements  at  the  Trimble  Opera 
House. 

There  are  few  play-goers  who  Avill  be  likely  to  forget 
Mrs.  Siddons'  unapproachable  interpretation  of  Juliet, 
Julia,  in  the  "Hunchback,"  Rosalind  in  '' As  You  Like 
It,"  tlie  Duchess  d'Torreneuva  in  "Faint  Heart,"  and, 
above  all,  her  Mind  girl,  in  the  beautiful  and  affecting 
drama  of  "  King  Renes'  Daughter,"  rendering  the  chai'ac- 
ter  with  sucii  truthfulness  and  thrilling  effect  as  to  elicit 
the  warmest  sympathies  as  w^ell  as  unrestrained  demon- 
strations of  delight.  Mrs.  Siddons  was  truly  fortunate 
in  having  the  very  able  support  of  two  such  excellent  act- 
ors as  Walter  Montgomery,  and  the  present  indefatigable 
nanager  of  the  Capitol  Theatre,  Walter  Keeble. 


250        General  Theatrical  Keminisce>ces. 

Mrs.  Scott  Siddons  is  tlie  great  graud-daugliter  of  the 
eminent  Eno-lisli  actress.  Mrs.  Siddons,  and  sister  of  John 
and  Charles  Kemble.  Mrs.  Scott  Siddons  was  born  in  the 
East  Indies,  in  1844,  and  is  consequently  in  the  twenty- 
ninth  year  of  her  age.  At  a  very  early  age  she  evinced  a 
decided  taste  for  dramatic  recitations.  On  the  death 
of  her  father,  his  widow  and  four  children  returned  to 
England  and  took  up  her  residence  in  Germany,  for  the 
better  purpose  of  educating  her  daughters — and  here,  the 
subject  of  this  sketch  being  only  eleven  years  of  age,  at- 
tracted much  attention  by  her  very  intelligent  rendition 
of  small  parts  in  a  French  play  called  '*  Ester,"  and  soon 
subsequently  appeared  in  the  plays  of  Schiller,  Eacine, 
and  other  distinguished  play-writers. 

Mrs.  Siddons"  first  appearance  in  England  was  in  the 
character  of  Lady  Macbeth.  Her  first  appearance  in 
America  was  as  a  reader  at  Providence,  E.  I.,  in  1868,  and 
after  appearing  as  a  reader  at  Steinway  Hall,  New  York, 
she  made  her  debut  as  an  actress  in  America,  at  the  Boston 
Museum.  Her  first  appearance  in  New  York  as  an  actress, 
was  in  1868,  at  the  Worrell  Sisters'  Theatre,  in  the  role  of 
Eosalind,  in  "  As  You  Like  It." 

In  1869  Mrs.  Siddons  again  visited  England,  and,  after 
a  brief  absence,  returned  to  this  country,  opening  at 
Daly's  Fifth  Avenue  Theatre  as  Viola,  in  Shakspeare's 
"Twelfth  Night,"  creating  a  very  decided  impression. 

It  would  appear  that  her  married  name  was  Canter — but 
her  husband's  father  objected  to  his  name  being  used  on  the 
stage — so  Canter,  jr.,  by  law,  took  out  the  name  of  Scott 
Siddons,  the  first  (Scott)  the  name  of  his  mother,  the 
second  (Siddons)  the  name  of  his  wife.  Mrs.  Scott  Sid- 
dons' last  appearance  in  Albany,  was  as  a  reader  before  the 
Young  Men's  Association. 


CHAPTER  LI. 

William  J.  Florence, 
BoRX  IN  Albaxt,  1831— His  First  Dramatic  Efforts — First  Ap- 

PEARA>-CE  at  the  OLD  BOWERT  THEATRE,  XeW  YoRK — He  RuNS 

Kapidlt  up  the  Dramatic  Ladder — Marries  Mrs.  Lettell — 
Mr.  and  Mrs.  Florence  go  to  Europe— Their  Success  in  the 
Principal  Cities  of  England,  Ireland  and  Scotland — Re- 
turns Home  and  "  Stars  it  "  through  the  States — Makes  a 
Large  Fortune,  etc. 

William  J.  Florence,  or  as  he  is  more  generally  and 
familiarly  called  "  Billy  Florence,"  as  many  may  not  be 
aware,  is  a  native  of  Albany,  "  to  the  manor  born."  He 
Avas  born  in  1831,  and  is  consequently  in  the  42d  year  of 
his  age.  Mr.  Florence,  in  appearance,  is  exceedingly  pre- 
possessing, both  on  and  off  the  stage,  courteous  and  gen- 
tlemanly in  his  intercourse  with  all,  and  is,  beyond  doubt, 
one  of  the  very  best  delineators  of  certain  characters,  es- 
pecially Irish,  on  the  American  boards.  His  acting  is 
always  natural,  easy,  graceful,  seldom,  if  ever,  overdoing 
or  coming  tardily  off  in  any  role  he  assumes.  He  also  pos- 
sesses great  versatility  of  dramatic  talent  which  enables 
him  to  render  difficult  dialect  characters  in  an  unexcep- 
tionable manner,  especially  that  of  Bob  Brierh',  in  the 
*•  Ticket-of-Ijeave-Man,"  in  which  character  he  has  hardly 
an  equal. 

Mr.  Florence  was  engaged  by  Tom  Hamblin,  of  the  old 
Bowery  Theatre,  Xew  York,  with  the  elder  Chippendale 
.mkI  John  Sefton.  v.-ith  whom  he  made  his  dehut,  in  1849, 


252         General  Theatrical  Eeminiscences. 

in  tlie  character  of  Peter,  in  the  play  of  the  "  Stranger." 
He  soon  after  appeared  at  Brougham's  Theatre. 

On  Xew  Years'  da}',  1853,  he  married  Miss  M.  Pray, 
who  speedily  made  her  debut  in  the  cliaracter  of  "  Nan,  the 
Good  for  Xothing."  The  Florences  shortly  after  visited 
England,  meeting  with  flattering  success,  in  their  delinea- 
tion of  the  ''Irish  Boy"  and  "Yankee  Girl,"  at  Drury 
Lane  Theatre.  At  the  close  of  their  London  engagement, 
these  artists  played  to  enthusiastic  audiences  at  Liverpool, 
Manchester,  Glasgow,  Dublin,  Belfast,  and  other  large 
towns. 

Eeturning  to  America,  in  1857,  Mr.  and  Mrs.  Florence 
appeared  in  the  principal  cities  of  the  United  States,  with 
a  repertoire  comprising  '•  Handy  Andy,"  "  Temptation," 
"  St.  Patrick's  Eve,"  "  Kathleen  Mavourneen,"  "  The  Yan- 
kee Housekeeper,"  etc. 

In  1863  Mr.  Florence  achieved  his  greatest  hit  at  the 
Winter  Garden  Theatre,  Ncav  York,  in  the  "  Ticket-of- 
Leave-Man;"  and  as  a  burlesque  artist  he  secured  dis- 
tinction in  light  pieces  at  Wallock's  Theatre.  The  pieces 
he  played  were  "  The  Returned  Volunteer,"  "  Orange 
Blossom,"  "Knight  of  Arva,"  "  Fra  Diavolo,"  "  Lady  of 
Lyons,"  and  "  Coleen  Bawn." 

Mr.  Florence  has  displayed  his  versatility  by  the  assump- 
tion of  roles  diametrically  opposed  to  each  other,  in  char- 
acter and  coloring ;  as,  for  instance,  George  d'Alroy,  in 
the  play  of  '■'  Caste,"  and  as  Obenreizer,  in  "  No  Thorough- 
fare." Many  of  the  pieces  enacted  by  Mr.  and  Mrs.  Flor- 
ence arc  his  own,  including  "Mike,  the  Miner,"  a  three 
act  drama,  "  The  Yankee  Housekeeper,"  "  Lord  Flanagan," 
"The  Irish  Brogue  Maker,"  "  Mischievous  Annie,"  "  Lalla 
Rookh,"  and  a  version  of  the  "  Field  of  the  Cloth  of  Gold," 
produced  a  few  3'^ears  since  at  Wood's  Museum,  New  York, 
in  which  Florence  played  the  part  of  King  Henry  VIII. 

Mr.  Florence,  yet  in  all  the  vigor  and  freshness  of  youth, 


General  Theatrical  Kemimiscences.        253 

continues  "starring  it,"  adding,  if  possible,  new  laurels  in 
his  dramatic  chaplet, 

Mrs.  Florence  was  formerly  Mrs.  Lettell — maiden  name 
Malvina  Pray.  She  was  married  to  Joseph  Lettell,  from 
whom  she  was  divorced,  and  married  Mr.  Florence  in  1853. 
Mrs.  Florence  is  a  sister  of  Mrs.  Barney  Williams. 


CHAPTER  LII. 

Albany  Actors  and  Actresses. 

Those  who   weiie   to   the   Manor-Born,  and  those  who  Com- 
menced THEIR  Dramatic  Career  in  Albany. 

In  speaking  of  Billy  Florence,  a  native-born  citizen  of 
Albany,  we  are  reminded  that  the  "good  old  Dutch 
Burgh  "  has  probably  produced  as  many  members  of  the 
dramatic  profession  as  any  city  of  its  size  in  the  Union, 
with  perhaps  the  exception  of  Philadelphia,  which  is  con- 
ceded to  be  the  "  mother  of  actors." 

Of  those  who  were  native-born  Albanians,  we  very  well 
remember  the  names  of  Hopkins  and  William  Robinson, 
("  Hop."  and  "  Bill,")  who  made  their  lUbut  at  the  old 
Green  Street  Theatre.  Alexander  Simpson,  printer,  who 
first  appeared  at  the  old  North  Pearl  Street  Thespian 
Theatre ;  William  Duffy,  Mrs.  Forbes,  nee  Miss  Easton  or 
Eaton,  Lansing  ])augherty,  Mike  Hennessey,  Charley 
Kane,  George  Stone,  Sidney  Smith,  James  Cannoll,  Wil- 
liam J.  Florence,  Frank  Lawlor,  Mrs.  Capt,  John  Cooke, 
and  others,  whose  names  we  do  not  now  remember. 

James  Cannoll  made  his  first  appearance  as  Ned  Grey- 
ling,  at  the  Albany  Museum.  After  leaving  Albany,  he 
was  attached  to  the  dramatic  company  at  Niblo's,  but  his 
health  becoming  much  impaired  by  the  labors  of  his  pro- 
fession, was  compelled  to  abandon  it,  and  secured  a  promi- 
nent appointment  on  the  Metropolitan  Police,  which 
position  he  held  until  his  death,  which  occurred  Novem- 
ber 5,   18G7.     His  remains  were  brought  to  Albany  for 


General  Theatrical  Reminiscences.        255 

interment  in  the  Albany  Rural  Cemetery,  his  funeral  be- 
ing very  numerously  attended. 

As  an  evidence  of  the  high  appreciation  of  Mr.  Can- 
noil's  dramatic  abilities,  during  two  of  Mr.  Forrest's  en- 
gagements in  New  York,  he  prevailed  upon  the  superin- 
tendent of  the  police  to  allow  Mr.  Cannoll  a  respite  from 
police  duty  in  order  to  secure  his  services  in  supporting 
him  in  his  principal  roles.  Certainly  a  very  high  and 
well  deserved  compliment  to  Mr.  Cannoll  as  an  actor  and 
as  a  gentleman. 

Among  those  who  were  not  born  in  Albany  but  who 
commenced  their  dramatic  career  here,  are  E.  Eddy,  James 
Hall,  Joe  Parker,  Mary  Gannon,  Mary  Wells — both  of  these 
latter  afterwards  filled  prominent  positions  at  Wallock's, 
New  York — Lucille  and  Helen  Western,  the  Bateman 
girls.  Miss  Davenport  (Mrs.  Lander)  who,  like  Edwin 
Forrest,  took  her  first  grand  start  on  the  journey  to  dra- 
matic fame,  in  Albany.  Here  the  first  laurels  Avere  gath- 
ered that  formed  the  dramatic  cha])let  of  Edwin  Forrest 
and  Mrs.  Lander.  Why  may  not,  then,  x\lbany  justly 
claim  the  credit  of  being  one  of  the  principal  mothers 
of  actors  and  actresses,  many  of  whom  have  occupied 
positions  of  distinction  in  the  dramatic  profession  ? 


CHAPTER  LIII. 

Actors'  Lives, 

Their  Vicissititdes,  Mentally  and  Physically — Their  Mental 
Agony  on  Particular  Occasions — Their  Private  and  Pro- 
fessional Character  —  Erroneous  Impression  in  Eegard 
Thereto — Great  Ages  of  English  Actors. 

In  speaking  of  the  causes  of  the  short  lives  of  actors,  the 
late  venerable  actor  and  manager,  W.  B.  Wood,  remarks : 

"  The  truth  is,  that  the  facts  assumed  by  some  in  regard 
to  tlie  causes  of  the  short  lives  of  actors,  are  utterly  un- 
founded, and  the  conclusions  deduced  from  them  are  as 
little  true.  The  exposure  on  the  stage,  though  often 
severe,  at  the  time,  probably  tends,  in  its  constancy,  to 
harden  the  constitution  of  an  actor ;  and  the  charge  of 
'idleness  and  dissipation '  can  be  made  by  only  those  who 
have  no  more  knowledge  of  an  actor's  daily  habits  than 
they  have  of  tliose  followed  by  the  Caucasian  or  Esqui- 
maux." 


An  Actor's  Routine  of  Duty. 

Let  it,  for  example,  be  remembered  that  an  actor  passes 
his  hours  for  months  together  in  the  following  routine, 
and  it  will  require  no  little  ingenuity  to  find  time  for 
either  "  idleness  or  dissipation  "  :  His  "  rehearsal '"'  begins 
at  10  o'clock,  on  an  average,  and  usually  occupies  till  1 
o'clock,  or  more  frequently,  until  2  o'clock.  Between  this 
hour  is  his  time  for  study,  which  in  long  and  new  parts  is 


General  Theatrical  Reminiscences.        257 

often  most  severe,  and  which  must  be  constant,  even  with 
short  or  old  parts.  Costume,  or  mechanical  or  personal 
arrangements  for  the  stage,  require  much  attention  al- 
ways ;  and  by  7  o'clock  in  the  evening  he  must  be  at  the 
theatre  for  the  important  labors  of  the  night,  frequently 
protracted  to  the  very  hour  of  morning.  The  hours  there- 
fore devoted  to  study  are  limited  to  a  short  term  after  re- 
hearsal, and  what  can  be  snatched  after  midnioht  or  after 
rising  early  in  the  morning.  Nothing  is  said,  of  course, 
about  those  cares  of  a  family,  or  of  interests  not  profes- 
sional, but  yet  common  to  an  actor  along  with  other  men, 
of  those  which,  though  not  connected  Avith  the  immediate 
daily  and  nightly  duties  of  his  profession,  yet  spring  more 
or  less  directly  from  that  source. 


An  Actor's  Professional  Sufferings. 

Of  the  professional  sufferings  of  an  actor,  some  little 
idea  may  be  formed  by  any  person  Avho  feels  himself  com- 
pelled onli/  to  appear  cheerful  at  a  social  party  for  a  few 
moments,  where  no  effort  is  expected  from  him,  and  no 
disappointment  felt  if  he  proves  silent,  gloomy  or  reserved. 
But  the  poor  actor,  while  writhing  under  severe  physical 
pain  and  anguish  day  after  day,  and  month  after  month, 
must  rise  from  his  bed  of  sorrow  to  encounter  the  severity 
of  winter  in  a  dress  only  suited  to  the  torrid  zone,  and  not 
only  appear  gay  and  happy,  but  be  expected  to  communi- 
cate a  part  of  this  feeling  to  the  audience ;  or,  what  is  iiir 
worse,  he  must  rouse  himself  from  the  bedside  of  some 
beloved  object,  whose  life  perhaps  hangs  upon  a  thread, 
and  hurry  into  the  din  and  forced  labor  of  a  theatre, 
doubtful  whether  his  return  may  be  in  time  to  close  the 
eyes,  perhaps,  of  the  last  remaining  object  of  affection 
upon  earth ! 

Garrick  used  to  remark  that  the  privileges  of  an  actor's 
life  were  to  be  petted  and  x)eltedl  Tliis  is  true  of  some 
IT 


258        General  Theatrical  Eemixiscences. 

favored  jierformers ;  while  tlie  life  of  others  resemble 
that  of  tlie  politician,  commencing  in  frenzy,  and  continu- 
ing in  a  Avild  and  ceaseless  struggle !  Garrick's  own  me- 
moirs furnish  evidence  how  deeply  even  this  cherished 
favorite  was  compelled  to  suffer  in  feeling,  and  in  that 
which  some  person  affected  to  consider  more  dear  to  him — 
his  purse ! 

How  perfectly  absurd,  then,  to  talk  of  the  "  idle  life  of 
an  actor !"  There  is  hardly  a  more  laborious  professional 
life  in  the  whole  range  of  professional  careers.  It  is  speak- 
ing, of  course,  of  those  who  unite  a  praiseworthy  ambition 
Avith  an  honorable  feeling  of  a  duty  to  the  public  and 
their  employers. 

So  far  as  concerns  the  causes  of  short  life,  as  found  in 
"  idleness  and  dissipation,"  and  as  respects  the  result  of 
such  causes,  the  following  table  shows  exactly  what  might 
be  expected.  Here  is  placed  after  the  names  of  several 
actors  and  actresses  their  age  at  the  time  of  their  death,  as 
follows: 

Smith,  Drury  Lane  Theatre,  83;  Moody,  85;  Dibden, 
76;  Johnstone,  72;  Bannister,  71 ;  AV  rough  ton,  74;  Faw- 
sette,  70  ;  Beard,  75 ;  Yates,  95 ;  Munden,  74 ;  Bensley,  71 ; 
Hull,  70 ;  King,  75 ;  Murphy,  75 ;  Miss  Pope,  76 ;  Quick, 
83;  Incledon,  68;  Mrs.  Mattocks,  88;  Mrs.  Pitt,  70; 
Knight,  70;  Whitlock,  70;  Mrs.  Davenport,  70;  Talma, 
the  great  French  actor,  and  Madame  Mars,  the  distin- 
guished French  actress,  died  at  66,  or  upwards ;  Lafond 
lived  to  upwards  of  80  ;  Mrs.  Gibbs  and  Mrs.  Grover,  emi- 
nent actresses,  were  also  upwards  of  70;  Lady  Grosvenor 
reached  72,  and  Catalain  Avas  hale  and  hearty  at  70.  All 
these  were  distinguished  actors,  actresses,  or  singers. 
Byrne,  the  great  dancer,  was  a  fine  healthy  man,  in  1860, 
at  88  years ! 

These  persons,  it  must  be  observed,  embrace  chiefly  the 
names  of  eminent  actors  and  actresses  of  London.  Wbile 
in  tbo  l*rovinces,  manv  instances  have  occurred  of  actors 


General  Theatrical  Reminiscences.        259 

attaining  a  great  age  in  earlier  times,  as,  for  instance, 
Macklin,  who  reached  the  extraordinary  age  of  97 !  Gar- 
rick  was  67 ;  Quinn,  70  ;  Batterton,  74 ;  John  Kemble  and 
his  sisters,  Mrs.  Siddons  and  Mrs.  Whitlock,  were  near  70. 
A  London  paper  stated,  in  1858,  that  Charles  Kemble, 
father  of  Fanny  Kemble,  was  in  his  81st  year.  Braham, 
the  great  singer,  the  same  paper  stated,  still  survives,  at 
the  age  of  70,  a  musical  wonder.  Of  the  prominent  actors 
who  died  in  America,  we  give  the  ages  (which,  it  will  be 
observed,  nearly  average  those  who  died  in  England)  at 
the  time  of  their  death  :  Jefferson,  62 ;  Warren,  father  of 
the  great  American  comedian,  63 ;  Bernard,  74 ;  Darley, 
77 ;  Hallem,  75 ;  W.  B.  Wood,  75  ;  Blissett,  78 ;  Morris, 
84 ;  Mrs.  Darley,  79  ;  Holland,  nearly  80. 


CHAPTER   LIV. 

John  Hanbury  Dwyer, 
The  Eminent  Comedian  and  Justly  Celebrated  Elocutionist. 

There  are  many  of  our  older  citizens  who  no  doubt  re- 
member Mr.  Dwyer  not  only  as  an  actor  but  as  a  highly 
polished  gentleman  and  a  finished  elocutionist.  His  last 
appearance  in  Albany  was  at  the  old  Pearl  Street  Theatre, 
wliere  he  made  his  debut  before  a  large  audience,  compris- 
ing ourlirst  class  citizens. 

Mr.  Dwyer  was  born  in  Tipperary,  Ireland.  His  father 
held  the  office  of  colonel  in  an  Irish  brigade  under  the 
unfortunate  King  Louis  the  Sixteenth  of  France.  Mr. 
Dwyer  arrived  in  New  York  from  England  in  1810.  His 
name  was  originally  OTJwyer.  He  was  conceded  by  emi- 
nent dramatic  critics  equal  to  the  great  actor  Garrick, 
as  a  comedian.  The  elegance  of  his  person,  the  fascination 
of  his  deportment,  and  that  perfect  knowledge  of  stage 
business  which  never  suffered  tlie  sliglitest  embarrassment 
to  appear,  confirmed  him  in  tlie  public  mind  as  the  best 
comedian  who  had  appeared  since  tlie  time  of  Garrick. 
It  is  related  that  the  mere  manner  of  drawing  and  sheath- 
ing his  sword  would  elicit  rounds  of  applause  from  the 
large  audiences  assembled  at  Drury  Lane  Theatre. 

Mr.  Dwyer's  first  appearance  on  the  American  stage  re- 
ceived fnmi  an  eminent  theatrical  critic  the  following 
highly  llattering  notice: 

"The  American  stage  has  received,  in  the  person  of  Mr. 
Dwyer,  one  of  the  greatest  acquisitions  that  it  has  ever 


General  Theatrical  Keminiscexces.        261 

had  to  boast  of.  He  is  an  actor  of  great  merit,  and  in  his 
line,  of  the  very  first  promise.  Light  dashing  comedy  is 
his  forte,  and  in  it  he  is  always  faultless.  Nature  has  been 
uncommonly  bountiful  to  this  actor — he  possesses  all  the 
commendation  to  please  the  eye — stature,  bone,  muscle, 
symmetry  and  comeliness." 

It  may  be  gratifying  to  the  friends  and  admirers  of  the 
late  Mr.  Dwver,  to  learn  that  his  estimable  widow  is  still 
living,  in  the  sixty-sixth  year  of  her  age.  She  has  resided 
in  the  family  of  Mr.  Vose,  on  Madison  avenue,  in  this  city, 
for  the  past  seventeen  years,  and  we  are  pleased  to  say  she 
is  still  in  an  excellent  state  of  preservation,  retaining  all 
her  mental  faculties  in  a  remarkable  degree. 

Mr.  Dwyer's  "Essay  on  Elocution,''  a  work  of  three 
hundred  pages,  and  which  has  had  a  wide  circulation,  not 
only  in  this  country  but  in  Europe,  is  one  of  the  most  per- 
fect works  on  that  subject  extant.  For  several  years  pre- 
vious to  his  death,  Mr.  Dwyer  devoted  his  time  and  atten- 
tion to  teaching  and  lecturing  on  the  subject  of  elocution, 
his  efforts  meeting  with  the  most  flattering  success. 


CHAPTER  LV. 

A  Pleasant  Episode  in  the  Life  of  Charlotte  Cush- 
man.— A  Valuable  Present. 

It  was  our  intention  when  writing  up  the  sketch  of 
Charlotte  Cushman,  which  appears  in  a  previous  chapter, 
to  have  incorporated  in  the  sketch  the  following  account 
of  a  pleasant  episode,  which  occurred  on  the  last  night  of 
this  lady's  engagement  in  January,  1873,  at  McVicker's 
Opera  House,  Chicago : — 

It  is  not  often  that  the  world  at  large  is  permitted  to 
gain  a  glimpse  of  life  "  behind  the  scenes,"  much  less  ob- 
tain an  inkling  of  the  personal  relations  which  exist  between 
stage  people  of  the  various  degrees  of  prominence  before 
the  public.  The  last  day  of  Miss  Charlotte  Cushman's 
eno-uaement  at  McVicker's  Theatre  was  the  occasion  of  a 
peculiarly  interesting  episode,  and  one  wliich  that  greatest 
of  living  actresses  will  remember  with  pleasure  during  her 
life.  There  seems  to  have  sprung  up  between  Miss  Cush- 
man  and  the  members  of  McVicker's  company  a  mutual 
feeling  of  the  most  gen  nine  regard,  growing  out  of  the 
extreme  kindness  and  friendly  interest  which  the  distin- 
fifuished  actress  has  manifested  toward  each  and  all  of  the 
people  employed  on  and  about  the  stage.  Their  apprecia- 
tion of  this  unusually  pleasant  state  of  things  took  the 
form  of  an  elegant  little  testimonial — not  especially  rare 
or  costly,  nor  intrinsically  of  great  value,  but  exceedingly 
tasteful  and  appropriate — which  was  presented  to  Miss 
Cushman    by    the   manager   in    the   green-room    of   the 


General  Theatrical  Reminiscences.        263 

theatre.  By  general  request,  the  presentation  devolved 
upon  Mr.  McVicker,  who,  without  a  moment's  warning, 
was  called  upon  to  do  the  honors.  He  acquitted  himself 
neath'  and  fluently,  first  assuring  Miss  Cushman  that  it 
gave  him  peculiar  pleasure*  to  thus  act  in  behalf  of  the 
members  of  his  company,  her  relations  toward  whom  he 
had  from  time  to  time  observed  with  especial  pride  and 
gratification.     He  then  read  the  following  letter : 

• 
"McVicker's  Theatre,  Chicago,  ) 
January  \\,  ld73.  ) 

"Miss  Charlotte  Cushman: 

"As  members  of  a  profession  to  which  yott,  not  only  as 
an  artist,  but  as  a  lady  and  a  true  woman,  have  contributed 
the  earnest  zeal  and  heartfelt  labors  of  a  lifetime  to  en- 
noble and  honor,  Ave,  the  members  of  the  company  of 
McVickers  Theatre,  desiring  to  express  to  you  our  apj)re- 
ciation,  present,  through  our  worthy  manager,  this  circlet 
of  gold,  inscribed  with  the  motto  that  has  so  endeared  you 
to  us,  and  which  is  no  less  engraven  in  our  hearts,  viz.: 
'  Kind  Words.'  May  your  happiness  here,  and  in  the 
great  hereafter,  be  only  symboled  by  the  golden  circlet — 
endless." 

Signed,  J.  O'Xeill,  J.  Howard  Eogers,  W.  H.  Power,  and 
ten  other  members  of  the  company. 

Opening  a  little  morocco  case,  Mr.  McVicker  took 
therefrom  a  heavy  gold  ring,  a  plain  Etruscan  band,  on 
the  surface  of  which  these  words  were  engraved  and  inlaid 
with  black  enamel :  *'  Miss  Charlotte  Cushman.  McVick- 
er's  Theatre,  January  11,  1873.  Kind  Words."  Though 
plain  in  a})pearance,  the  ring  was  beautifully  fashioned  and 
engraved,  and  reflected  credit  both  upon  tlie  taste  of  the 
donors  and  the  workmanship  of  the  makers. 

During  all  the  preliminary  proceedings  Miss  Cushman 
had  stood  like  one  utterly  at  a  loss  to  know  what  it  was 
all  about.  The  perspiration  stood  in  beads  on  her  fore- 
head,  and   she   avIio   had   faced  hundreds   of  thousands 


264        General  Theatrical  Reiminiscences. 

glanced  about  her  as  nervously  and  uneasily  as  the  veriest 
novice.  When,  however,  Mr.  McVicker  placed  the  ring  in 
her  hand,  with  the  accompanying  letter,  her  expressive  face 
relaxed  into  a  broad  smile  of  unmistakable  surprise  and 
pleasure,  and  as  a  tear  glistene'd  for  a  moment  in  her  eye, 
and  then  stole  down  her  cheek,  in  a  few  broken  Avords  she 
expressed  her  deep  gratitude  and  delight  at  receiving  such 
a  token  in  such  a  Avay  and  from  such  a  source.  She  said 
that  hffl-  three  weeks'  stay  in  the  theatre  had  been  the 
pleasantest  engagement  of  her  life ;  that  the  constant  de- 
sire of  the  members  of  the  company  to  anticipate  her 
every  wish,  and  conform  to  it  to  the  best  of  their  ability, 
had  matle  her  sojourn  so  happy  and  free  from  annoyance, 
that  she  heartily  wished  she  were  going  to  remain  three 
weeks  longer.  "So  do  I!"  heartily  interpolated  Mr.  Mc- 
Vicker. But  she  might  come  again  some  time,  she  said, 
and  hoped  she  should.  She  should  value  the  testimonial 
as  she  had  never  valued  anything  in  her  life,  the  more  so, 
perhaps,  because  it  was  the  first  time  in  her  stage  experi- 
ence that  such  a  thing  had  happened  to  her.  Once  more 
she  thanked  them  from  her  heart,  and  so  ended  one  of  the 
pleasantest  little  episodes  imaginable. 


CHAPTER  LVl. 

How  the  Printer  Collects  his  Bill. 

An  Amusing  Incident  at  the  old  Pearl  Street  Theatre— Thk 
Manager  Nonplussed— Forrest's  Last  Appearance  at  thk 
OLD  Pearl — Forrest  Applauds  the  Printer's  Modus  Operandi. 

Frequent  allnsions  have  been  made  in  a  previous  part 
of  this  work  to  Thomas  Fuller,  Avho  was  generally  kno\vn 
as  the  "  Artful  Dodger,"  and  who  was  the  last  manager 
but  one  (Mr.  Preston)  of  the  Pearl  Street  Theatre.  To 
settle  a  question  frequently  asked,  why  the  sobriquet  of 
"  Artful  Dodger "  was  applied  to  Fuller,  it  is  only  neces- 
sary to  say  tliat  it  Avas  simply  because  he  had  a  very 
peculiar  faculty  of  "dodging"  his  creditors,  who  were 
generally  exceedingly  numerous.  He  left  many  persons 
in  Albany  with  standing  accounts,  as  "reminders  "  of  his 
theatrical  reign  in  Albany,  Avhen  he  made  his  rather  hasty 
exit.  This  man  Fuller  was  in  no  way  related  to  or  con- 
nected Avith  the  venerable  "  Sam"  Fuller,  ftit  and  jolly, 

"  A  fellow  of  infiuite  jest  and  excellent  fiiucy, 
"Whose  flashes  of  memmeut  kept  the  table  in  a  roar," 

and  Avho  kept  the  Washington  Hall,  an  excellent  hotel 
adjoining  the  theatre  on  the  south,  Avhere  Luke's  dry 
s2:oods  store  stands. 

A  little  incident  occurred  during  Fuller's  management 
of  the  theatre  Avhich  may  prove  interesting  to  our  readers, 
and  especially  to  printers.  It  was  the  closing  night  of  the 
season,  Forrest  playing  "Metamora"  to  a  house  filled  from 


266        General  Theatrical  Reminiscences. 

pit  to  dome,  large  numbers  being  unable  to  gain  admis- 
sion. Fullers  creditors,  at  least  a  few  of  them,  Avere  on 
the  alert.  Among  the  number  was  the  bill  printer,  and 
the  writer  of  this  work,  who  had  seen  service  in  the  theat- 
rical line  ;  that  is,  in  the  way  of  printing,  and  had  sufiered 
'•  many  a  time  and  oft"  from  the  failure  of  managers  to 
liquidate  the  claims  he  held  against  them.  Well,  the 
printer  held  a  claim  of  U25  against  the  establishment, 
and  in  order  to  circumvent  Fuller, he  adopted  this  dodge: 
In  the  building  adjacent  to  the  theatre  on  the  north,  and 
in  which  the  fire  that  destroyed  the  Academy  of  Music 
originated,  Mr.  Benj.  M.  Briare  kept  a  confectionery  and  ice 
cream  saloon.  The  arrangement  between  the  manager  of 
the  theatre  and  the  printer  was,  that  the  printer  should 
have  the  privilege  of  giving  written  passes,  they  being 
charged  to  his  account.  George  Randall,  who  is  still  liv- 
ing and  well,  had  charge  of  the  box-door  of  the  theatre  at 
the  time,  as  well  as  of  other  internal  arrangements  of  the 
building. 

The  printer  accordingly  prepared  a  large  number  of 
written  passes — labeled  "Box"  and  "Pit" — a  sufficient 
number  to  cover  the  amount  of  his  claim  against  the 
manager.  He  opened  a  ticket  office  in  Briare's  saloon,  and 
jdaced  a  couple  of  young  fellows,  "  Avell  up  in  their  parts," 
in  front  of  the  saloon  to  inform  the  people,  as  they  crowded 
about  the  ticket  office  of  the  theatre,  that  they  could  ob- 
tain tickets  in  the  "  side  office,"  instead  of  being  jostled 
and  elbowed,  and  without  the  fear  of  having  their  pockets 
picked!  The  "dodge"  succeeded  admirably,  the  printer 
disposing  of  his  tickets  so  rapidly,  tiuit  long  before  the 
l)erforniance  commenced  he  had  realized  a  sum  sufficient 
•  to  liquidate  his  claim,  and  held  a  balance  of  seventy-five 
cents  due  the  manager!  !  Early  the  morning  following, 
managei-  Fuller  sent  post  haste  for  the  printer  to  come  and 
settle,  he  suiiposing  from  the  way  the  tickets  poured  in, 
the  ])rinler  had  received  a  sum  far  exceeding  the  amount 


General  Theatrical  Reminiscences.        267 

of  his  claim.  Tlie  summons  to  appear  at  the  box  office 
was  promi)tly  obeyed,  the  tickets  were  counted,  aud  the 
result  exliibited  tliat  the  printer  had  received  seventy-five 
cents  in  excess  of  his  bill,  which  amount  was  paid  over  to 
manager  Fuller,  the  printer  remarking:  "  This  is  the  first 
time  I  ever  knew  i\  j^rinter  to  be  indebted  to  the  manager 
of  a  theatre  !  "  Fuller  was  quite  chopfallen,  but  accepted 
'•'  the  situation  "  gracefully  I  Forrest  was  informed  of  the 
printers  successful  '•  dodge,"  and  had  a  hearty  laugh  over 

it,  remarking:  "Served  the  d snob  right.*'     (Fuller 

was  a  shoemaker  before  he  became  manager  of  the  theatre.) 
Forrest  had  secured  his  money  before  the  curtain  "  rang 
up,*'  so  he  was  all  right. 

Soon  after  this  Fuller  left  town,  and,  if  we  mistake  not, 
at  a  greater  rate  of  speed  than  pedestrians  are  generally 
in  the  habit  of  exhibiting.  Some  people  were  so  unchari- 
table as  to  intimate  that  he  was  impelled  in  his  hasty  re- 
treat through  fear  of  lynching.  The  last  we  heard  of 
him  he  was  running  a  shoe  shop  on  Chatham  street,  New 
York,  having  adopted  the  good  old  motto,  "  Stick  to  your 
last." 


CHAPTER  LVII. 

Female  Dramatic  Performers— Then  and  Now. 

It  is  a  very  notable  fact,  tliat  not  nntil  some  time  after 
the  Restoration,  did  a  female  appear  on  the  stage  of  Eng- 
land. Sir  William  Davenport,  proprietor  of  one  of  the 
London  theatres,  it  appears,  first  innovated  npon  this  an- 
cient custom,  by  bringing  out  Mrs.  Hughes  in  the  charac- 
ter of  Desdemona,  she  being  the  first  female  who  ever 
appeared  on  the  English  stage  as  an  actress. 

The  annexed  lines,  written  by  a  young  English  lady,  is 
a  capital  hit  at  the  absurd,  unnatural  custom,  of  "perri- 
wig-pated "  hearded  fellows  assuming  female  cliaracters, 
enacting,  for  instance,  such  delicate  roles  as  Juliet,  Des- 
demona, Ophelia,  etc. 

MALES   ACTING   FEMALE   PAETS. 

In  days  of  yore,  th'  historic  page 
Says  womeu  were  proscrib'd  the  stage  ; 
And  hoy>i  and  men  in  petticoats 
Vh\y'i\  female  parts  with  Steutor's  notes! 
The  cap,  the  stays,  the  high-heel'd  shoe, 
The  'kerchief  and  the  bonnet  too, 
With  apron  as  the  lily  wliite, 
Put  all  the  male  attire  t )  flight — 
The  calotte,  waistcoat,  and  cravat, 
The  bushy  wig.  and  gold-trinim'd  hat. 
Ye  Gods !  behold  !  what  high  burlesque, 
Jane  Shore  and  Juliet  thus  grotesque ! 

King  Charles  one  uight,  jocund  and  gay. 
To  Drury  went  to  see  a  play — 


General  Theatrical  Reminiscences.        269 

Kynaston  was  to  act  a  queen — 
But  to  his  barber  he'd  not  been  ; 
He  -was  a  mirth-inspiring  soul, 
Who  lov'd  to  quaflF  the  flowing  bowl— 
And  on  his  way  the  wiglit  had  met 
A  roaring  bacchanalian  set, 
"With  whom  he  to  the  tavern  hies, 
Eegardless  how  time  slyly  flies ;     . 
And  while  he  circulates  the  glass, 
Too  rapidly  the  moments  pass. 
At  length  in  haste  the  prompter  sends, 
And  tears  Kynaston  from  his  friends; 
Tho'  he'd  much  rather  there  remain, 
He  hurries  on  to  Drury  Lane. 
When  in  the  green-room  he  appear'd, 
He  scafd  them  with  his  bushy  beard  ! 

The  barber  quick  his  razor  strops, 

And  lather'd  well  her  royal  chops! 

"While  he  the  -'stubble"  mow'd  away, 

The  audience  curs'd  such  long  delay  ; 

They  scream'd— they  roar'd— they  loudly  bawl'd. 

And  with  their  cat-calls  siccctly  squall'd  ; 

Th'  imparient  monarch  storm'd  and  rav'd — 

"  The  Queen,  dread  sire,  is  not  quite  shav'd .'" 

TVas  bellow'd  by  the  prompter  loud — 

This  cogent  reason  was  allow'd 

As  well  by  king  as  noisy  crowd  ! ! 


CHAPTER  LVIIL 

Amusing  Anecdotes  of  Edwin  Forrest. 

Forrest   axd  the   Albany  "^Tatchmex — Forrest   and    Esquire 
John  0.  Cole— Forrest  and  Mrs.  Wood. 

Soon  after  Forrest  arrived  in  Albany  and  joined  Gilfert's 
company,  he,  with  several  boon  companions — among  them 
the  lamented  Capt.  George  Hendrickson,  for  a  long  time 
commandant  of  the  old  Albany  Artillery,  and  one  of 
Ned's  warmest  friends,  a  generons,  genial,  noble-hearted 
fellow,  who  often  equipped,  cap-a-pie,  a  new  recruit  to  his 
company,  (the  Republican  Artillery,)  at  his  own  expense 
if  not  able  to  do  so  himself.  As  we  were  about  to  say, 
Ned  and  his  companions,  one  night  after  the  theatre  was 
out,  sallied  forth  on  a  bit  of  harmless  lark.  They  came 
up  old  South  Market  street,  (now  Broadway,)  and  when 
opi)osite  the  building  where  the  Exchange  now  stands,  and 
which  was  occupied  by  the  old  Albany  Bank,  a  hardware 
or  crockery  store.  On  either  side  of  the  main  entrance  to 
this  building  was  an  iron  railing,  enclosing  quite  a  space 
— when  the  young  larks  arrived  at  this  spot,  they  were 
met  by  several  watchmen,  or  as  they  were  called,  "  leather 
heads,"  they  wearing  large,  stout,  leather  caps.  The  party 
were  all  jolly,  of  course,  and  full  of  fun,  and  pitching 
their  voices  at  a  higher  key  than  the  night  guardians 
deemed  agreeable  to  the  quiet  people  who  had  retired  to 
the  iii-ms  of  Morpheus,  they  re})rimanded  them  rather 
liarslily.  High  words  arose,  and  strong  insinuations  made 
about  •' watch-liouse"  and  "lock-up."     Ned,  seeing  mat- 


General  Theatrical  Remixiscences.        271 

ters  were  assuming  rather  a  serious  turn,  at  once  hit  upon 
a  lucky  expedient,  or  dodge, — he  leaped  over  the  railing, 
and  commenced  spouting  passages  from  some  favorite 
Shaksperian  character,  which  had  the  effect  of  giving  alto- 
gether a  different  and  more  favorable  aspect  to  the  affair. 
While  "Ned "was  spouting  with  such  electric  effect  as 
to  absorb  the  earnest  attention  of  the  watchmen,  Ned's 
companions,  one  by  one,  slipped  off,  leaving  him  and  tiie 
watchmen  sole  masters  of  the  situation !  Finding  the 
"  birds  had  flown,"  and  the  tables  so  artfully  turned  upon 
them,  the  watchmen  took  it  as  a  capital  joke,  and  Ned 
Avas  allowed  to  go  on  his  way  rejoicing! 


Anecdote  of  Forrest  and  'Squire  John  O.  Cole. 

While  we  have  been  so  long  "  talking  "  theatre  and  actors, 
it  will  not  be  deemed  out  of  place,  we  are  satisfied,  to 
relate  an  incident  that  occurred  while  Forrest  Avas  a  mem- 
ber of  Gilfert's  Pearl  Street  dramatic  company,  and  Avhen 
he  Avas  what  might  be  termed,  rather  fast.  Being  out  on  a 
lark  one  night  with  several  boon  companions,he  was  "taken 
in  by  the  watch,"  and  comfortably  provided  quarters  under 
the  old  Howard  Street  Mansion.  In  the  morning  he  Avas 
brought,  Avith  his  companions,  before  'Squire  Cole,  Avho, 
finding  the  offence  rather  trivial,  discharged  the  party. 
As  Forrest  Avas  about  to  leave  the  office,  the  'Squire  deem- 
ing it  a  fitting  occasion  to  give  him  a  little  friendly  admo- 
nition, thrcAV  himself  back  in  his  chair,  assuming  a  slight 
theatrical  air, — (the  'Squire  Avas  Avell  posted  in  theatricals 
in  his  younger  days  and  Avell  versed  in  Shakspeare) — and 
addressed  Forrest  in  true  theatrical  style,  quoting  tlie  fol- 
lowing Avell  known  passage  from  Othello: — 

"  What's  the  matter. 
That  you  uulace  your  reputation  thus, 
And  spend  your  ricli  opinion,  lor  the  name 
Of  a  nifiht- brawler  ?  give  me  answer  to  it !" 


272        General  Theatrical  Reminiscences. 

The  effect  was  electric,  and  "Ned"  made  an  unusually 
hasty  exit,  not  a  little  chagrined,  as  well  as  greatly  aston- 
touished,  at  the  aptitude  of  the  quotation. 


Forrest  and  Mrs.  "Wood. 

When  Forrest  was  playing  an  engagement  in  London, 
his  benefit  and  that  of  the  celebrated  actress  Mrs.  Wood, 
happened  to  take  place  on  the  same  night — one  at  Drury 
Lane,  the  other  at  the  Hay  Market  Theatre.  The  next 
day  Forrest  meeting  Mrs.  Wood,  who  was  rather  of  "pdite 
'figure,  politely  asked  her,  "AVhat  sort  of  a  benefit  she 
had?"  Mrs.  Wood  instantly  and  laughingly  replied,  '•  0, 
the  people  deserted  the  little  Woods  and  fled  to  the  lig 
FoRRESTS !  "     As  much  as  to  say  her  benefit  was  light. 


CHAPTER  LIX. 

Amusing  Anecdotes  of  Edwin  Forrest. 

Forrest  and  the  Two  Portraits  ix  Hamlet — The  Shaving-box 
AND  Lather-brush  —  A  Ludicrous  Scene — Forrest  in  the 
Lion's  Den — Forrest's  Courage  Tested. 

The  following  very  amusing  incident  was  related  to  us 
by  Mr,  Forrest,  it  having  occurred  while  playing  an  en- 
gagement at  the  Cincinnati  Theatre,  in  the  rendition  of 
Hamlet,  which  caused  him  no  little  cliagrin.  On  leaving 
his  room  at  his  hotel,  he  had  forgotten  to  place  the  two 
miniatures  in  his  pocket  that  were  to  represent  his  "  father 
and  uncle,"  and  being  in  haste  to  reach  the  theatre  it  did 
not  occur  to  him  that  he  was  minus  the  pictures  until  he 
was  called  on  in  the  scene  with  the  Queen,  (his  mother,) 
Avhere  he  is  to  "'  speak  daggers  but  use  none."  He  felt  in 
his  pocket,  but  the  miniatures  were  not  there,  and  while 
the  Queen  Avas  preparing  to  take  her  seat,  Forrest  happened 
to  discover  an  attache  shaving  himself  in  a  corner  behind 
the  scene.  He  made  a  rush,  grabbed  the  attaches  shaving- 
box,  lid,  soap,  brush  and  all,  and  thrust  them  in  his  bosom, 
and  took  his  seat  by  the  side  of  the  Queen,  leaving  the  poor 
attache  standing  and  gazing  in  utter  amazement  at  the 
strange  proceedings.  The  interview  between  Hamlet  and 
his  mother  takes  place;  he  thrust  his  hand  into  his  bosom 
and  pulled  out  the  lid  of  the  shaving-box,  which  contained 
a  miniature  looking-glass,  exclaiming,  "look  here,  upon 
this  picture,  (presenting  the  lid  of  the  box,)  and  noAv  look 
on  this."  "  This  was  your  husband — this  is  your  husband." 
As  he  presented  the  shaving-box  with  a  suddfu  jerk,  out 
18 


274        General  Theatrical  Reminiscences. 

tumbled  the  cake  of  soap,  lather-brusli  and  all,  into  the 
Queen's  lap !  The  Queen  was  somewhat  astounded,  but 
finally  recovering  herself,  tnrned  her  head  from  the  audi- 
ence and  enjoyed  a  hearty  laugh  at  Forrest's  discomfiture. 
Those  of  the  audience  near  the  stage  who  saw  the  inci- 
dent, enjoyed  the  joke  with  perfect  gusto.  Forrest  said, 
"  I  do  believe  if  there  had  been  a  stage  trap  open  near 
by,  I  should  have  pitched  into  it,  I  was  so  confoundedly 
mortified." 


Forrest  in  the  Lion's  Den. 

The  following  anecdote  is  related  of  Forrest  and  the 
animal  tamer  Driesbach.  Tliis  incident  occurred  while 
he  was  playing  at  the  old  BroadAvay  Theatre,  New  York. 
Forrest's  pieces  were  followed  by  an  exhibition  of  lions  by 
their  tamer,  the  renowned  Herr  Driesbach.  Forrest  was 
one  day  saying  that  he  had  never  been  afraid  in  all  his 
life — that  he  could  not  imagine  the  emotion.  Driesbach 
made  no  remark  at  the  time,  but  in  the  evening,  when  the 
curtain  had  been  rung  down,  he  invited  Mr.  Forrest  home 
with  liim.  Forrest  assented,  and  the  two  entering  a  house, 
Avalked  a  long  distance  through  many  devious  passages — 
all  dark — until  finally  Driesbach,  opening  a  door,  said : 
"This  way,  Mr.  Forrest."  Forrest  entered,  and  imme- 
diately heard  the  door  slammed,  and  locked  behind  him! 
He  had  not  time  to  express  any  sur])rise  at  this,  for  at  the 
same  moment  he  felt  something  soft  rubbing  against  his 
leg,  and  putting  out  his  hand  touched  what  felt  like  a  cat's 
back;  a  rasping  growl  saluted  the  motion, and  he  saw  two 
fiery,  glaring  eyeballs  looking  up  at  him!  "Are  you 
afraid,  Mr.  IA)rrest?"  asked  Driesbach.  "Not  a  bit,"  re- 
I)lied  Mr.  Fon-est.  Driesbach  said  something — the  growl 
deepened,  became  harsher,  the  back  began  to  arch,  and  the 
eyes  to  shine  more  fiercely.  Forrest  held  out  two  or  three 
minutes,  but  the  symptoms  became  so  terrifying  that  lie 


General  Theatrical  RemlmscExNCes.        275 

owned  up  in  so  many  words,  that  he  was  afraid!  "Now 
let  me  out,  you  infernal  scoundrel,"  lie  said  to  the  lion 
tamer,  "  and  I'll  break  every  bone  in  your  body."  He  was 
imprudent  there,  for  Driesbach  kept  him,  not  daring  to 
move  a  finger,  with  the  lion  rubbing  against  his  leg  all  the 
time,  until  Forrest  promised  not  only  immunity,  but  a 
champagne  supper  in  the  bargain  !  ! 


A  Stage-Struck  Youth's  Appeal  to  Mr.  Forrest. 

While  Mr.  Forrest  was  playing  an  engagement  at  the 
Albany  South  Pearl  Street  Theatre,  in  1834,  he  placed  in 
our  hands  the  original  of  the  following  letter,  to  which  we 
give  place  for  the  especial  benefit  of  young  dramatic  as- 
pirants, Mr.  Forrest  remarking,  "  This  is  only  a  single 
sample  of  the  innumerable  and  2jrecions  morceaii  with 
Avhich  I  am  constantly  annoyed,  and  absolutely  bored,  by 
unfledged  would-be  young  American  Eosciuses  ! "  Here 
is  the  letter  in  its  entirety — spellatem,  et  punctuatem,  et 
capital-letterem.  Of  the  qualifications  for  an  actor,  so 
glowingly  set  forth  by  this  young  man,  we  leave  for  those 
to  judge,  far  better  posted  in  theatrical  matters  than  we 
ever  dared  claim  to  be : 

"Baltimore  Maryland  \ 
"  June  24  1834  5 

"  To  Mr  E  Forrest 

"  Alban}-  Theatre  State  of  IST.  York. 

"  My  Very  dear  sir — Knowing  you  to  be  distinguished 
for  your  Noble  Efforts  to  encourage  Native  Talent  in  Ac- 
tors and  Authors  I  am  very  Anxious  to  become  an  Actor 
and  with  your  Encouragement  and  a  little  of  your  Teach- 
ing I  think  I  might  in  Time  make  my  Mark  in  the  theat- 
rical Line  I  have  been  in  the  Occasional  habit  of  Spoutting 
Shakspeere  at  School  and  they  all  said  1  would  make  a 
first  rate  Actor  in  Time  I  have  a  pretty  fair  Edducation  I 
am  about  18  years  old  5  feet  G  inches  high  in  my  stock- 


276        General  Theatrical  Reminiscences. 

ings — Bocldy  well  Knit  together  strait  as  a  young  sappling 
— Nose  Romiin — legs  plump  and  needs  no  Paddiug  as  so 
maniiy  have  to — and  my  eyes  as  I  have  often  been  told 
somewhat  I'esembling  Lucius  Junus  Booth's — If  you 
should  think  these  qnallifications  Sufficient,  be  so  good 
as  to  Answer  this  as  Early  as  Convenient. 

"Your  Admirer  Alwavs 

"  W.  S.  DANIELSON." 


CHAPTER  LX. 

C.  W.  Taylor. 

He  makes  his  advent  in  Boston — Enters  as  head  Clerk  in  an 
EXTENSIVE  Importing  House — He  falls  desperately  in  love 

WITH  A  BEAUTIFUL   OpERA   SiNGER— JOINS  AN  OpERA   TROUPE — 

He  makes  his  first  appearance  on  a  Public  Stage  at  Nor- 
folk, Ya. —  Next  Appears  at  the  Old  Chatham  Garden 
Theatre,  New, York— Makes  His  Debut  at  the  North  Pearl 
Street  Amphitheatre— Goes  to  the  Albany  Museum — Ke- 

MAINS   TILL  ITS  FINAL  CLOSE— GOES  TO  NeW  YoRK.  JOINS    HaMB- 

lin's  Bowery  Company — Retires  on  the  Dramatic  Fund. 

Probably  no  member  of  tlie  dramatic  profession  was 
longer  or  more  favorably  known  to  an  Albany  public  than 
the  subject  of  this  brief  sketch,  C.  W.  Taylor,  or  "  Charley 
Taylor,"  as  he  was  more  familiarly  called,  and  who  was 
a  resident  of  Albany  for  over  a  quarter  of  a  century. 

Mr.  Taylor  was  born  in  England,  as  nearly  as  can  be 
ascertained,  in  1800,  making  his  (/ebuf-  on  a  public  stage 
at  Norfolk,  Va.,  in  1819,  as  Patrick,  in  the  operatic  com- 
edy of  "  The  Poor  Soldier."  After  playing  a  brief  engage- 
ment at  Norfolk,  he  proceeded  to  New  York,  ai)pearing  at 
the  old  Chatham  Garden  Theatre,  in  Woodworth's  ever 
popular  musical  drama  of  the  '•'  Forest  Rose."  Leaving 
New  York,  Mr.  Taylor  cast  his  lines  in  Albany,  making 
his  debut  at  Parson's  North  Pearl  Street  Theatre,  assuming 
the  position  of  vocalist  and  '' utility  business."  He  soon 
after  appeared  at  the  old  Pearl  Street  Theatre,  and  finally 
became  what  with  propriety  might  be  termed  a  fixture,  at 
the  Albanv  Museum,  as  he  remained  at  that  establishment 


278        General  Theatrical  Eemixiscences. 

uninterruptedly,  luitil  a  short  time  previous  to  its  final 
windins:  up  as  a  place  of  public  amusement. 

Mr.  Taylor  then  bid  adieu  to  Albany  and  took  the  situa- 
tion of  musical  director  of  the  New  York  BoAvery  Theatre, 
at  that  time  under  the  management  of  Thomas  Hamblin. 

Mr.  Taylor  was  an  invaluable  acquisition  to  a  Theatre, 
having  a  thorough  practical  knowledge  of  its  multifarious 
duties.  He  was  highly  educated,  a  ripe  classic  scholar,  a 
remarkably  ready  and  terse  writer.  [Should  any  reader 
entertain  doubts  as  regards  Mr.  Tavlor's  literary  attain- 
ments,  we  would  simply  call  their  attention  to  the  very 
eloquent  address  delivered  by  this  gentleman  at  the  open- 
ing of  the  new  dramatic  saloon,  published  under  the  head 
of  the  Albany  Museum,  in  a  preceding  chapter  of  this 
Avork.]  He  Avas  the  author  of  a  number  of  popular  plays, 
tAvo  or  three  of  them  being  "  prize  plays  "  of  Dan  Marble 
and  Yankee  Hill.  He  Avas  also  the  author  of  the  cele- 
brated nautical  drama  of  the  "  Water  Witch,"  Avhich  Avas 
produced  at  the  Bowery  Tlieatre,  New  York,  at  a  large 
outhiy,  and  had  an  unprecedentedly  long  and  successful 
I'un.  As  a  dramatic  Avriter  and  musical  artist,  Mr.  Taylor 
ranked  among  the  very  first  of  the  day.  He  possessed 
remarkable  A^ersatility  of  dramatic  talent,  ready  at  all 
times  to  sing  a  song,  do  a  low  comic  role,  the  eccentric  old 
man,  the  blustering,  grutf  old  sea  captain,  a  juvenile  lover, 
or  almost  any  role  in  the  range  of  the  drama,  rendering 
his  parts  with  singular  aptitude,  and  with  entire  satisfac- 
tion to  his  audiences. 

Charley  possessed,  in  a  remarkable  degree,  one  peculiar- 
ity or  faculty,  Avhich  was  that  of  ekeing  out,  changing 
or  adapting  his  rather  scanty  private  stage  Avardrobe  to  tlie 
various  characters  he  enacted.  His  wardrobe  for  liglit 
pieces,  generally  consisted  of  a  black  frock  coat,  Avhite 
vest,  Avhite  linen  pants,  red  cap,  ornamented  Avitli  a  gold 
lace  band,  and  a  crimson  colored  silk  sword  sash.  It  Avas 
really  amusing  to  obserA-e  with  what  tact  and  ingenuity 


General  Theatrical  Reminiscences.        279 

lie  would  adapt  his  wardrobe  to  the  character  of  an  em- 
peror, admiral,  duke,  count,  grand  marshal,  general,  cap- 
tain, private  gentleman,  and  with  his  wig  of  raven  locks, 
would  often  enact  the  young  lover  equal  to  a  youth  of 
seventeen ! 

Soon  after  his  advent  in  Boston,  Mr.  Taylor  entered  an 
extensive  importing  house  in  that  city,  as  head  or  man- 
aging clerk,  and  by  his  upright  conduct  and  indefatigable 
application  to  business,  soon  won  the  entire  confidence  and 
respect  of  his  employer.  After  remaining  in  this  estab- 
lishment for  a  year  he  was  entrusted  Math  its  most  import- 
ant interests.  He  was  entrusted  with  large  sums  of  money 
and  frequently  sent  to  England  as  principal  agent  of  the 
house  to  purchase  goods,  which  responsible  trust  was  so 
faithfully  and  scrupulously  discharged  that  the  young 
clerk  at  once  became  confirmed  in  the  estimation  of  his 
employers.  The  probabilities  are,  that  had  Mr.  Taylor 
remained  in  this  establishment  he  would  have  become  one 
of  its  partners  in  due  course  of  time.  Tliat  there  is  a 
'•  tide  in  tiie  affairs  of  men  if  taken  in  the  flood,  leads  to 
fortune,"  is  quite  true,  as  Avas  evidenced  in  the  case  of  Mr. 
Taylor.  He  failed  to  take  advantage  of  the  flood-tide, 
allowing  his  finely  rigged  bark  to  drift  down  the  ebb-tide 
of  disappointment  and  misfortune. 


"Why  Charley  Taylor  became  an  Actor. 

At  the  time  Mr.  Taylor  held  the  position  of  clerk  in  the 
importing  house  above  alluded  to,  a  traveling  opera  troupe 
visited  Boston,  and  as  Mr.  Taylor  himself  Avas  an  excel- 
lent musician,  it  Avas  quite  natural  for  him  to  visit  the 
opera.  The  prima  donna  Avas  an  accomplished  artist,  and 
a  A^ery  beautiful  and  fascinating  young  lady  of  some  sev- 
enteen summers.  Whether  it  Avas  the  effects  of  her  exqui- 
site vocal  poAvers  or  her  beauty  that  trepanned  the  heart 
of  our  amoroso,  Ave  were  never  advised — but  certain  it  is 


280        General  Theatrical  Keminiscences. 

he  at  once  became  smitten ;  cupid's  unerring  dart  per- 
formed its  delicate  mission  most  effectually!  There  being 
no  other  alternative  for  Charley,  he  at  once  relinquished 
his  position  as  clerk  in  the  importing  house  and  joined 
the  opera  troupe,  in  order  the  more  fully  to  "breathe  the 
same  air,  and  constantly  bask  in  the  smiles  of  his  lady 
love,"  Avhere  he  would  have  no  further  cause  to  "  rehearse" 
the  good  old  song  commencing  with — 

"  Thou  art  so  near,  and  yet  so  far  !" 

Thus  was  Charley  first  introduced  behind  the  scenes  of 
the  mimic  stage,  making  his  first  appearance  as  an  actor, 
as  before  stated,  at  Norfolk,  Va.  He  "strutted  his  brief 
hour  upon  the  stage"  until  within  some  ten  years  since, 
when  the  "sere  and  yellow  leaf  of  time"  reminded  him 
it  was  time  to  leave  the  mimic  stage,  Avhich  he  did.  and 
retired  upon  the  dramatic  fund.  AVhen  last  heard  from 
he  Avas  residing  in  Philadelphia,  hale  and  hearty,  figure 
erect,  step  as  elastic,  apparently,  as  Avhen  he  was  in  his 
prime,  and  his  locks  were  of  the  raven's  hue. 


CHAPTER  LXL 

An   Actor's   Regard  for  the  Observance   of  Good 
Friday— A  Theatrical  Incident.   ■ 

The  occurrence  of  Good  Friday  invariably  brings  vividly 
to  mind  a  little  episode  that  occurred  at  the  Pearl  Street 
Theatre,  when  under  the  management  of  Charles  Gilfert. 

The  great  celebrated  actor,  Conway  (we  use  the  word 
great,  as  Conway  was  not  only  great,  as  an  actor,  but  great 
in  stature,  being  considerably  over  six  feet  in  his  stockings, 
and  fairly  proi)ortioned)  was  playing  an  engagement  here 
during  Holy  Week.  The  bills  were  out,  announcing  Con- 
wav  in  Shnkspeare's  "  Coriolanius,"  and  the  company  had 
assembled  at  the  theatre  on  Good  Friday  morning  for  re- 
hearsal at  the  usual  liour.  After  waiting  for  a  long  time, 
and  Conway  not  appearing — he  ever  being  prompt  in  his 
attendance  at  reliearsal — tlie  circumstance  created  no  little 
surprise,  and  a  messenger  Avas  at  once  dispatched  to  Con- 
way's lodgings,  at  Congress  Hall,  to  ascertain  the  cause  of 
his  non-appearance  at  rehearsal.  Conway  very  promptly 
responded  to  the  message,  by  appearing  in  propria  persoiKB, 
and  in  a  highly  excited  state  of  mind.  He  informed  Gil- 
fert that  he  had  been  so  deeply  absorl)ed  in  preparing  for 
the  observance  of  Good  Friday  tliat  he  had  entirely  for- 
gotten that  he  had  to  appear  on  the  stage  that  evening, 
and  had  it  occurred  to  him  when  he  made  the  engage- 
ment, he  Avould  most  assuredly  have  had  a  proviso  in  the 
engagement  that  the  niglit  of  Good  Friday  be  excepted— 
that  he  Avas  an  Episcopalian,  and  from  his  youth  up,  he 
had  made  it  an  invariable  practice  of  scrupulously  and  re- 


282        General  Theatrical  Eemixiscences. 

ligiously  observing  that  day  above  all  others  in  Lent. 
There  avus  of  course  no  performance  that  night  at  the 
theatre.  Xotwithstanding  it  was  a  great  disappointment 
as  well  as  damage  to  Gilfert,  as  he  had  anticipated  a  large 
house,  many  seats  having  been  early  secured,  Gilfert  most 
magnanimously  declined  Conway's  offer  to  pay  the  amount 
of  damages  Gilfert  had  sustained  in  consequence  of  his 
non-appearance.  Gilfert  was  likewise  an  Episcopalian  of 
the  strictest  cast. 

Here,  then,  Ave  haA'e  evidence  that  in  the  theatrical  pro- 
fession, so  much  abused,  there  are  to  be  found  highly  edu- 
cated, honorable  christian  men — men  Avho  Avould  adorn 
the  highest  AA-alks  of  life  and  the  most  refined  society. 

Poor  CouAvay,  in  a  fit  of  deep  despondency  or  aberration 
of  mind,  while  on  passage  in  a  ship  from  NeAV  York  to 
Charleston,  S.  C,  and  as  the  vessel  hove  in  sight  of  that 
city,  he  Avalked  deliberately  to  the  aftei'-deck  and  sprang 
into  the  sea,  his  body  never  having  been  recovered.  He 
Avas  educated  for  the  ministry,  and  had  so  far  advanced  as 
to  "  take  orders  "  for  the  same  before  he  adopted  the  theat- 
rical profession. 


Annoyances  of  Theatrical  Managers. 

Probably  there  arc  feAV  professions  subject  to  more 
grievous  annoyances  than  the  dramatic  profession,  es- 
pecially the  manager.  Besides  his  various  legitimate 
duties,  which  are  at  times  exceedingly  onerous,  he  is  very 
frequently  and  grievously  annoyed  by  the  persistent  im- 
portunities of  unfledged  Avould-be  authors  and  actors.  The 
^venerable  W.  1?.  Wood,  manager  of  the  old  AValnut  Street 
Theatre,  Philadelphia,  relates  the  folloAving  incident  as  a 
specimen  of  the  ordeals  through  Avhich  lie  Avas  constantly 
obliged  to  pass: 

"One  day,  Avhile  sitting  in  my  priA'ate  office,  a  young 
man  entered,  apparently  seventeen  or  eighteen  years  of 


General  Theatrical  Remixiscexces.        283 

age,  slender,  awkward,  neatly  dressed  in  a  short  blue 
jacket,  striped  waistcoat,  nankeen  pantaloons,  and  half- 
boots.     His  first  salutation  was  : 

" '  Good  morning.  Are  you  the  gentleman  that  takes 
play-actors  ? ' 

'•  My  reply  was,  '  I  have  the  direction  of  the  theatre.' 

'•' '  Well,  do  you  want  any  actors  ?  ' 

"'Any  person  of  extraordinary  talent  would  find  em- 
ployment. Do  you  know  of  any  one  wanting  to  engage 
as  an  actor  ?  '  was  our  response. 

"  '  I  want  to  go  on  the  stage  myself,  sir.' 

"  '  You!     Did  you  ever  attempt  to  go  on  the  stage?' 

"  '  Only  at  the  Academy,  sir.' 

"  '  You  are  an  American,  of  course  ? ' 

"  '  Yes,  sir ;  true  blue ! ' 

"  '  Where  were  you  educated  ?  ' 

" '  At  Goshen,  sir.' 

"  '  What  plays  did  you  perform  at  the  Academy  ? ' 

" '  Wliy,  we  played  the  Catos,  the  Tambalines,  and 
such ! ' 

"  '  And  pray,  may  I  ask,  what  did  you  play  ? ' 

"  '  Why,  sir,  I  played  Cato  and  Bajazet — and  in  the  play 
of  Bold  Stroke  for  a  Wife,  I  played  the  Colonel.  You  see 
I  was  the  biggest  boy,  and  I  played  all  the  biggest  parts! ' 

" '  I  don't  think  you  would  do,  young  man,  as  Ave  have 
no  parts  big  enough  for  you  to  play  ! '  was  our  reply." 


CHAPTER  LXII. 

Encoring  Actors— A  Question  of  Taste— Should  be 

Denounced. 

The  sins  of  uudiences,  in  encoring  at  amusements,  have 
been  pretty  freely  ventilated  by  the  press,  in  many  parts 
of  the  country,  in  which  the  abominable  practice  is  most 
unqualifiedly  condemned. 

The  injustice  of  the  proceeding  is  often  so  palpable,  and 
it  is  carried  to  such  extremes,  as  to  provoke  disgust.  An 
occasional  reappearance  of  a  favorite  performer  is  all  well 
enough,  but  the  habit  of  encoring  anything  and  everybody 
is  a  practice  which  ought  to  be  abated.  Often  a  small  per- 
centage of  an  audience  start  the  thing,  applauding  continu- 
ously, and  thus  prolong  the  programme  till  it  becomes 
tedious  to  every  one  else.  It  is  a  mere  habit,  without  sense 
or  discrimination.  It  is  an  imposition  both  upon  the  sen- 
sible part  of  those  who  attend  and  a  torment  to  performers. 
A  poor  piece  on  the  programme  is  as  often  encored  as  a  good 
one,  and  persons  of  taste  and  judgment  Avho  are  bored 
by  it  the  first  time  are  inflicted  with  more  of  the  same  sort, 
all  because  a  few  foolish  "claquers"  enjoy  the  fun  of 
hand,  or  worse,  foot  applause.  To  the  actors,  singers,  etc., 
tlie  i)ractice  is  still  more  unjust.  Performers  have  rights 
"as  well  as  the  public.  They  furnish  a  programme  as  invit- 
ing as  they  can  make  it,  generally,  too,  of  considerable 
lenjrth,  and  ouglit  in  conscience  to  be  asked  for  no  more. 
An  artist,  too,  is  often  exhausted  by  his  first  effort,  and 
should  not  be  asked  to  repeat.  But  these  chronic  applauders 


General  Theatrical  Reminiscences.        285 

pay  no  attention  to  that,  or  rather  in  such  cases  the}-  persist 
all  the  more  in  their  demonstrations.  The  performer  ap- 
pears and  bows  in  mute  entreaty  to  be  let  off.  He  or  she 
says  as  plainly  as  it  can  be  said,  "For  God's  sake,  let  me 
oflE',"'  but  the  applause  increases,  the  weary  actor  drags  him- 
self back  on  the  stage,  and  Avith  but  half  a  heart,  goes 
through  the  ordeal  of  another  song  or  dance.  This  is 
sometimes  kept  up  for  the  third  or  fourth  time. 

The  public  are  not  impelled  by  heartless  cruelty,  but 
thev  do  not  appreciate  the  effort  expended  by  performers 
from  the  highest  to  the  lowest  grades.  It  looks  easy 
enough,  but  the  truth  is,  an  actor  or  singer  of  any  am- 
bition throws  into  their  part  so  much  vital  energy  in  en- 
deavoring to  please,  that  an  immediate  and  great  exhaus- 
tion is  the  consequence.  The  thing  which  electrifies  an 
audience  is  not  the  mere  going  through  with,  in  a  mecha- 
nical way,  an  assigned  part,  but  the  life,  the  delicate  and  ar- 
tistic touches  of  the  soul  which  is  infused.  The  nervous 
system  must,  in  a  genuine  artist,  be  wrought  up  to  the 
highest  pitch,  and  a  day's  ordinary  labor  may  not  prostrate 
the  system  so  much  as  the  exertions  of  a  few  moments. 
This  being  so,  every  consideration  of  good  taste  requires  a 
"  letting  up"  by  the  enthusiastic  portion  of  the  public  in 
their  habit  of  encoring.  Albany  audiences  are  by  no 
means  free  from  this  grievous  iniquity,  or  positive  Z»ore .' 
For  the  sake  of  our  reputation  as  a  city  of  sensible,  well- 
bred  people,  let  the  thing  be  stopped.  If  encores  are  in- 
sisted on,  let  some  discrimination  be  used,  and  not  demand 
the  repetition  of  the  good,  bad,  and  indifferent  parts  of  an 
entertainment,  with  the  same  senseless  persistency  ! 


CHAPTER  LXIII. 

Remarkable  Instance  of  Stage  Effect. 

The  Confession  of  a  High  Crime  in  consequence  of  a  Young  Man 
Witnessing  the  Performance  of  the  Tragedy  of  George 
Barnwell — An  Historical  Fact,  being  only  one  of  numer- 
ous OTHERS  of  a  Similar  Character. 


The  folloAving  sketch  of  one  of  the  most  remarkable  in- 
stances of  the  effect  of  a  well  acted  play  upon  a  guilty 
conscience,  will,  we  venture  to  say,  be  perused  with  no  lit- 
tle interest.  It  is  only  one  of  innumerable  instances  of  a 
similar  character,  in  the  historv  of  the  stase. 

The  great  poet  of  Kature,  Shakspeare,  '"who  so  Avell 
knew  the  qualities  of  the  human  heart,"  thus  discourseth 
upon  this  subject : 

"  I  have  heard 
That  guilt}'  creatures,  sitting  at  a  play, 
Have,  by  tlie  very  cunning  (if  the  scene, 
Been  struck  so  to  the  soul,  that  presently 
Thej'  have  proclaimed  their  inali factions, 
For  murder,  though  it  have;  no  tongue,  will  speak 
With  most  miraculous  orgau  !  " 

The  ftimous  actor,  David  Ross,  of  London,  had,  during 
the  Christmas  holidays,  been  playing  the  tragedy  of  George 
Ilnrnirt'lU  and  the  great  Mrs.  Pritchard  that  of  Millwood. 
\)v.  P.arr(jwl)y,  a  phy.sician  belonging  to  the  hospital  of 
St.  Bartholomew,  told  lloss  that  three  davs  after  the 
play  he  was  sent  for  by  a  young  gentleman,  an  apprentice 
of  a  very  opulent  merchant,  whom  he  found  very  ill  of  a 
fever.     The  nurse   told   the  doctor   tliat    his  i)atient  fre- 


General  Theatrical  Reminiscences.        287 

qiieutly  sighed  bitterly,  and  she  was  sure  he  had  some- 
thing on  his  mind.  After  much  intreaty  on  the  part  of 
the  physician,  the  youth  confessed  he  had  something  which 
lay  very  heavy  on  his  heart,  but  that  he  had  rather  die 
than  divulge  it;  as,  if  known,  it  would  be  his  certain  ruin. 
The  doctor  assured  him,  that  if  he  Avould  confide  it  to 
him,  he  would  do  all  in  his  power  to  serve  him,  and  that 
the  secret,  if  he  desired  it,  should  be  buried  in  his  breast, 
or  only  told  to  those  who  could  be  able  and  willing  to  re- 
lieve him. 

After  some  subsequent  conversation,  he  told  the  doctor 
that  he  was  second  son  to  a  gentleman  of  good  fortune, 
and  that  he  had  made  an  improper  acquaintance  witli  the 
mistress  of  an  East  India  captain,  then  abroad.  That  in 
one  year  he  should  be  out  of  his  time;  and  he  had  been 
entrusted  with  cash,  drafts,  and  notes  to  a  considerable 
amount,  from  which  he  had  purloined  two  hundred  pounds. 
That  three  nights  before,  as  he  witnessed  the  play  of  George 
Barnwell,  he  was  so  forcibly  struck  tliathe  had  not  known 
a  moment's  quiet  since.  The  doctor  asked  where  his 
fother  was  ?  He  replied,  that  he  expected  him  there  every 
moment,  as  his  master  had  sent  for  him  as  soon  as  he 
was  taken  so  very  ill.  The  doctor  desired  the  young  gen- 
tleman to  make  himself  easy,  as  he  would  undertake,  with 
his  father,  to  make  up  matters ;  and  in  order  to  set  the 
mind  of  his  patient  entirely  at  ease,  he  told  him  if  his 
father  would  not  advance  the  mone}^  he  would. 

On  the  arrival  of  the  father,  the  doctor  took  him  into 
an  adjoining  room  and  explained  the  cause  of  his  son's 
illness.  With  tears  in  his  eyes,  the  old  gentleman  gave 
him  a  thousand  thanks,  and  immediately  went  to  his  bank- 
ei''s  for  the  money,  wliile  the  doctor  returned  to  his  patient, 
and  told  him  every  thing  would  be  settled  to  his  satisfac- 
tion in  a  few  minutes.  Wlien  the  father  returned,  he  put 
the  two  hundred  pounds  into  the  hands  of  his  son,  and 
an  affecting  scene  foHowed  of  tears  and  embraces  between 


288       General  Theateical  Reminiscences. 

the  parent  and  the  child.  The  son  soon  recovered,  broke 
off  a  connection  which  had  nearly  proved  so  fatal  to  him, 
and  became,  in  time,  by  his  attention  to  bnsiness,  one  of 
the  most  opulent  merchants  in  the  city. 

He  was  always  pnnctnal  in  his  attendance  at  the  benefit 
of  Mr.  Ross,  Avho,  though  he  never  knew  the  name  of  his 
benefactor,  constantly  on  that  occasion  received  in  the 
morniiig  a  note  sealed  up,  containing  ten  guineas,  and  the 
following  words : 

"A  tribute  of  gratitude  from  one  avIio  was  highly 
obliged,  and  saved  from  ruin,  by  seeing  Mr.  Ross'  per- 
formance of  Barnwell:' 


CHAPTER  LXIV. 

Theatrical  Sympathy. 

Edwin  Forrest  and  Mary  Stuart  —  An  Exciting  Episode  —  A 
Fact — Anecdotes  of  Celebrated  Actors — Green  Koom  Drol- 
leries. 

Instances  are  frequently  related  of  persons  witnessing  a 
play  when  theh*  feelings  have  been  so  strongly  wrought 
upon  as  to  cause  them  to  spring  from  their  seat  and  ex- 
press them  audibly,  especially  where  an  innocent,  unpro- 
tected female  is  supposed  to  be  wronged.  Many  years 
ago,  when  the  play  of  "Mary  Stuart"  was  being  enacted, 
an  incident  of  this  kind  occun-ed.  It  may  be  remembered 
by  those  Avho  hiive  seen  this  play,  in  one  scene  Mary's 
wrist  is  seized  by  a  member  of  the  court,  the  grip  being  so 
violent  as  to  leave  the  impress  of  his  heavy  hand  upon  it. 
Forrest,  then  quite  a  young  man,  and  who  Avas  personating 
Douglas,  steps  between  Mary  and  her  persecutor,  pointing 
to  the  arm  and  exclaiming,  ''  Shame !  Shame  ! "  At  this 
moment  an  honest  fellow  in  the  pit  jumped  upon  his  feet 
crying  out,  "  So  it  is  a  shame,  knock  tlie  scoundrel  down, 
Forrest!"  It  is  hardly  necessary  to  say  the  incident 
brought  down  the  house  with  thunders  of  applause. 


A  Real  Tragedy  !     Effects  of  Good  Acting ! 

An  old  English  work  says :    The   history  of  Sweden 

records  a  very  extraordinary  incident  which  took  place  at 

the  representation  of  the  '•'  Mystery  of  the  Passion,"'  under 

King  John   TI,  in  1510.     The  actor  Avho  performed  the 

I'J 


290        General  Theatkical  Keminiscences. 

part  of  Longinus,  the  soldier,  who  was  to  pierce  Clirist 
on  the  cross  in  the  side,  was  so  transported  with  the  spirit 
of  his  acting,  that  he  really  killed  the  man  who  repre- 
sented our  Lord;  falling  suddenly,  and  with  great  vio- 
lence, he  overthrew  the  actress  who  represented  the  Holy 
Mother.  King  John,  who  was  present  at  the  spectacle, 
Avas  so  enraged  at  Longinus,  that  he  leaped  upon  the  stage, 
sword  in  hand,  and  with  one  blow  struck  off  the  actor's 
head!  But  the  spectators  looked  at  the  matter  in  a  dif- 
ferent light — they  were  really  delighted  with  the  too  vio- 
lent, but  natural  acting  —  became  terribly  infuriated 
against  their  King,  and  immediately  fell  upon  him  in  a 
throng  and  killed  him  ! 


Roscius,  the  Roman  Actor— His  Many  Excellencies. 

This  extraordinary  man's  name  is  immortalized  by 
Cicero,  who  has  in  various  parts  of  his  works  panegyrized 
him  no  less  for  his  virtues  than  for  his  talents.  Of  him 
that  great  orator,  philosopher  and  moralist,  has  recorded 
that  he  was  a  being  so  perfect  that  any  person  who  excelled 
in  any  art  was  usually  called  a  Eoscius — that  he  knew 
better  than  any  other  man  how  to  inculcate  virtue,  and 
that  he  was  more  pure  in  private  life  than  any  man  in 
Hume. 

Roscius  not  only  had  the  power  of  pleasing  on  the  stage 
more  than  any  other  actor  of  antiquity,  but  as  a  man, 
seems  to  have  been  more  estimable  than  any  other  man  of 
his  day.  The  greatest  personages  of  his  time  deliglited  in 
his  company,  and  were  proud  of  being  ranked  among  his 
friends,  wliile  such  as  survived  him  underwent  tlie  most 
profound  sorrow  for  his  death  ;  and  as  if  they  were  anxious 
to  excel  each  other  in  posthumous  praise  and  testimony  of 
his  personal  worth,  have  poured  forth  the  most  enthusias- 
tic tributes  of  love  and  esteem  to  liis  memory. 


General  Theatrical  Reminiscences.        291 

Though  his  i>crson  was  not  free  from  imperfection,  and 
his  eyes  were  distorted  by  nature,  his  traiiseendant  powers 
so  far  counteracted  those  defects,  that  the  Eomaus  com- 
pelled him  to  act  without  a  mash  in  order  that  they  might 
the  better  hear  his  elegant  jsronunciation,  contemplate  his 
physiognomical  expression,  and  be  delighted  with  the  en- 
chanting melody  of  his  voice  and  the  harmony  of  his 
words.  Some  poets  compared  his  person  to  the  refulgent 
beauty  of  the  sun  ! 


ANECDOTES  OF  CELEBRATED  ACTORS. 

A  rich  episode  in  the  palmy  days  of  Finn,  the  great 
American  Comedian. 

George  H.  Finn,  one  of  the  most  eminent  comedians  as 
well  as  the  greatest  wit  and  punster  of  his  day, — "  a  fel- 
low of  infinite  jest,"  while,  though  he  was  ever  ready  to 
crack  a  joke  upon  a  boon  companion  to  the  momentary 
annoyance  of  his  victim  and  the  unalloyed  delight  of  the 
company,  yet  he  could  himself  become  a  target  for  the 
shaft  of  another's  wit,  with  equal  grace  and  forbearance. 
No  one,  however,  attempted  to  play  -upon  poor  Finn,  but 
that  he  sooner  or  later  discovered  to  his  cost,  that  it  was, 
at  best,  rather  a  dangerous  experiment. 

Tom  Ilambliu  and  Tom  Flynn,  (the  Tom  Flynn  who 
broke  Booth's  nose,)  were  Avhilome  Avont  to  be  sworn 
friends.  They  had  indeed  almost  everything  in  common, 
one  couldn't  wear  a  wliite  overcoat  but  'tother  must  needs 
follow  suit.  Flynn  couldn't  dine  on  a  roast  leg  of  pork 
but  Hamblin  must  have  the  same,  or  if  he  hadn't  it  at 
home,  "  fat  Tom  "  would  send  him  a  share,  or  send  a  card 
of  invitation  to  dine.  So  with  their  horses,  carriages,  their 
rides  and  drives,  their  places  of  "  drop  in,"  their  benefits, 
and  pretty  women. 


292       General  Theatrical  Reminiscences. 

In  these  halcyon  days  of  Anld  Lang  Syne,  one  of  their 
chosen  friends  was  poor  Finn.  Abont  nine  o'clock  of  a 
misty  evening  in  September,  eighteen  hnndred  and  forty, 
Hamblin,  Barrett,  Jerry  Bell  and  Finn,  Avere  cross- 
ing from  the  Bowery  to  Broadway  through  Walker  street. 
As  they  passed  the  corner  of  Mott  street  they  were  espied 
by  riynn  who  was  sitting  at  the  window  of  his  dwelling, 
puffing  a  real  habana,  and  cogitating  on  some  new  "  gag," 
in  Frederic  Morton,  in  Norman  Leslie.  No  sooner  did  he 
catch  a  glimpse  of  the  party  than  a  thought  struck  him 
that  a  good  rig  might  he  run  upon  Finn,  so  donning  his 
rusty  white  brown  castor,  he  rushed  into  the  street,  and 
the  first  emblem  of  humanity  he  stumbled  upon  was 
'black  Nanny,' waiting  Avoman  to  Miss  Waring  of  the 
theatre.  Look  here  !  bawled  Flynn  to  the  ebony  damsel, 
'Take  this  half  dollar — you  know  Mr.  Finn — he's  just 
gone  down  the  street — follow  him — throw  your  arms  about 
his  neck — and  swear  that  he  owes  you  ten  dollars  for  woi'k 
and  laJjor  done  for  him  in  New  Orleans.  Stick  to  him, 
and  don't  leave  him  till  he  pays  you.' 

Tlie  wench  Avho'd  done  such  things  before,  hesitated  not 
a  moment,  but  followed  on,  seized  the  astonished  come- 
dian in  no  faint  embrace  about  the  neck,  and  exclaimed, 
'oh!  you  naughty  wretched  mari,'^''^'^!!'!  you've  deceived, 
you've  cheated  me.  Pay  me  the  ten  dollars  you  owed  me 
in  New  Orleans  or  I'll  never  leave  you,'  and  thus  she  Avent 
on  for  some  minutes,  until  Finn,  entirely  exhausted,  and 
out  of  all  patience,  offered  to  comj)romise  by  paying  the 
wench  $5,  which  she  gladly  accepted  and  vanished.  Flynn 
Avho  had  been  all  the  while  standing  oi)posite  holding  both 
his  sides,  and  though  seen  by  all  Finn's  companions,  was 
unnoticed  bV  himself,  now  come  forward,  and  Avitli  a  burst 
of  laughter  Avhicli  came  to  his  relief,  joined  the  party. 
Finn  said  not  a  Avord  on  the  subject  of  the  good  joke 
Aviiich  hull  just  been  perpetrated,  but  proceeded  on  in  ((uest 
of  iii'W  advcniui-c  fully  determined  however  on  ample  re- 


General  Theatrical  Reminiscences.       293 

veiige.  But  little  time  elapsed  before  an  opportunity  of- 
fered. Tl\e  same  party  met  a  few  evenings  after  at  the 
North  American  Hotel,  in  the  Bowery.  They  had  all  been 
drinking  pretty  freel}^,  and  Finn,  who  was  standing  in 
front  of  the  bar,  was  seen  suddenly  to  assume  all  the 
symptoms  of  one  laboring  under  the  effects  of  intoxica- 
tion. He  reeled  about,  faltered  in  his  speech,  gave  to  his 
eyes  an  unwonted  glare,  and  finally  fell  upon  the  floor  in 
a  state  of  apparent  insensibility,  with  nothing  escaping 
his  lips  in  answer  to  the  enquiries  of  those  around,  but 
oh  !  oh  !  dear,  the  doctor !  the  doctor ! 

As  Finn  had  anticipated,  Flynn  proposed  that  the  body 
should  be  removed  to  his  house,  which  proposition  being 
acceded  to,  Flynn  and  Hamblin,  assisted  by  Bell  and  Bar- 
rett gathered  up  the  remains  of  the  defunct  comedian  and 
took  up  their  line  of  march  for  Mott  street.  A  shower 
of  rain  had  just  set  in  and  being  excessively  warm  at  the 
time,  the  party  were,  on  reaching  Flynn's  house,  well 
drenched  without  and  within  ;  tliev  were  all  in  a  state  of 
profuse  perspiration.  Finn  was  carefully  laid  upon  a  sofa 
and  a  man  of  medicine  shortly  in  attendance. 

The  aff'air  had,  meanwhile,  got  wind  in  the  neighbor- 
hood, and  numerous  were  the  anxious  enquiries  for  the 
next  two  hours  after  Mr.  Finn's  health,  to  the  no  little  an- 
novance  of  Mrs.  Flvnn  and  her  domestics. 

For  half  an  hour  Finn  lav  in  the  same  state  of  immov- 
ahleness,  and  many  were  the  remarks  of  anxious  solicitude 
which  passed  among  the  party  relative  to  the  case  in 
hand. 

Barrett  vowed  that  it  was  the  first  time  that  Finn  had 
BYer  got  so. 

Flynn  swore  that  Finn  could  drink  a  little  ocean  dry 
and  '  carry  it  all  off.' 

Bell  thought  that  something  had  been  the  matter  with 
him  all  the  evening. 

Hamblin  advised,  that  as  Finn's  reputation  might  suffer 


294       General  Theatrical  Eeminiscences. 

if  his  situation  was  made  public,  that  the  real  facts  should 
be  concealed,  and  that  it  should  be  given  out  that  Finn 
was  dangerous. 

The  party  had  by  this  time  become  somewhat  in  want, 
and  it  was  proposed  to  leave  Finn  and  adjourn  to  some 
place  in  Broadway,  it  being  then  too  early  to  separate  for 
the  night.  This  was  agreed  upon,  and  the  four  friends 
walked  over  to  the  Carlton,  where,  surrounded  by  a  large 
party  of  persons,  all  anxious  in  their  enquiry  after  Finn's 
welfare.  Among  the  persons  present  was  one  who  seemed 
to  doubt  the  truth  of  the  statement  of  Finn's  illness,  and 
oflfered  to  wager  Flynn  an  X  that  Finn  would  be  in  Broad- 
way again  before  midnight.  The  bet  was  accepted  and  the 
stakes  just  lodged  in  the  hands  of  the  barkeeper,  Avhen  in 
popped  Finn  himself  with  a  "  good  health  to  ye  all,"  and 
with  a  leer  to  Flynn,  "hadn't  you  better  pay  over  the 
stakes  to  black  Nanny  9  " 

It  is  needless  to  add  that  the  person  who  bet  with  Flynn 
was  in  the  secret  of  Finn's  illness,  and  that  the  latter  had 
been  playing  imssum. 


Finn's  Last  Pun! 

Poor  Finn,  he  was  such  an  inveterate  punster  that  at 
the  time  of  his  most  imminent  peril,  or  in  the  moment  of 
the  most  sober  and  melancholv  reflection,  no  matter  what 
the  hour  or  occasion,  he  always  had  a  pun  applicable  to 
it,  and  calculated  to  turn  it  into  ridicule. 

At  the  burning  of  the  Lexington,  and  when  a  hundred 
and  llfty  human  beings  were  expecting  each  moment  to  be 
swallowed  up  in  a  whirlwind  of  flame,  or  engulphed  in 
the  waves  of  the  sea,  and  in  hopes  to  save  their  lives,  were 
throwing  themselves  from  the  burning  boat,  clinging  to 
bales  of  cotton,  Finn,  the  lamented  Finn,  who  was  one  of 
that  unha]ipy  multitude,  cried  out  in  the  midst  of  the 
awCiil  confusion: 


General  Theatrical  Reminiscences.        295 

"  Why  are  we  like  criminals  escaping  from  death  ?  " 

An  awful  pause  ensued.     "  D'ye  give  it  up  ?  " 

"  Because  we  take  hale  for  life ;  "  and  he  sprang  from 

the  boat  to  a  cotton  bale,  and  in  a  moment  more  he  was 

forever 

"  In  the  deep  bosom  of  the  ocean,  buried." 


The  G-reat  Actor,  John  Kemble,  and  the  Rhinoceros. 
A  Truly  Amusing  Incident. 

Mr.  Kemble  had  been  dining  with  a  noble  duke  of  high 
convivial  habits,  and  on  this  particular  occasion  the  liba- 
tions to  Bacchus  were  so  frequent  and  of  so  long  a  con- 
tinuance, the  party  did  not  wend  homewards  until  four 
o'clock  in  the  morning.  At  a  quarter  past  four,  Mr. 
Kemble  (who  insisted  on  Avalking)  found  himself  alone  in 
the  Strand,  opposite  Exter  "Change,  in  the  upper  apart- 
ments of  which  was  exhibited  the  menagerie  of  the  cele- 
brated Polito.  The  'matins'  roar  of  a  lion  called  forth 
Mr.  Kemble's  attention  ;  he  paused — and,  with  the  fumes 
of  wine  floating  on  his  brain,  he  was  seized  with  a  peculiar 
whim,  and  uttered  to  himself, 

"  To  be  or  not  to  be,  that's  the  question." 

"  It  shall  be  I — no  man  ever  attempted  it.  In  any  book 
of  natural  history — nay,  in  all  the  voyages  and  travels  I 
ever  perused,  no  man  ever  did  it.  I — I  will  do  it ! — the 
Avorld  shall  say,  alone  I  will  have  a  ride  on  a  rhi- 
noceros ! "  He  here  took  a  pinch  of  snuff,  and  exclaimed, 
"What  ho!  Exter 'Change!  iNobody  stirring  ?"  He  then 
made  a  staggering  effort  to  pull  the  bell.  After  he  had 
rang  the  bell  several  times  with  tipsy  vehemence,  one  of 
the  keepers  of  the  wild  beasts,  who  slept  in  their  apart- 
ment as  a  sort  of  groom  of  the  chamber,  made  his  appear- 
ance in  an  ancient  heef -eater s  dress,  and  a  Welch  wig. 


296        General  Theatrical  Eeminiscences. 

Kemble — "  Sir,  are  you  Mr.  Polito  ?  " 
Keeper — "Xo,  sir;  master's  abed,  and  asleep." 
Kemble — "  You  must  wake  him,  good  fellow." 
Keeper — "I  daren't,  sir,  unless  it's  iverry particklar." 
Kemble — "'  Next  time  say  '  very  jiarticularJ     Hark  yo  u, 

it  is  very  particular.     You  have  up  stairs,  if  I  remember 

rightly,  an  animal  denominated  a  rhinoceros?" 

Keeper — "  We've  got  a  rhinoceros,  and  a  fine  fellei'  she 

is." 

Kemble — "  Introduce  me  to  him.     You  object.     Go  call 

Mr.  Polito,  your  very  noble  and  approved  good  master." 
On  the  arrival  of  Mr.  Polito,  Kemble  addressed  him — 

''  Mr.  Polito,  I  presume  ?  "  Polito  bowed. 
Kemble — "  You  know  me,  I  suppose  ?  " 
Polito—"  Very  well,  sir.    You  are  Mr.  Kemble,  of  Drury 

Lane  Theatre." 

Kemble—"  Right,  good  Polito  !     Sir,  I  am  seized  with 

an  unaccountable  and  uncontrollable  fancy.    You  have  a 

rhinoceros?" 

Polito— "Yes,  sir." 

Kemble — "  My  desire  is  to  have  a  ride  upon  his  back." 

Polito — "Mr.  Kemble,  you  astonish  me!" 

Kemble  (elated)— "  I   mean   to   astonish  the  world.     I 

intend  to  ride  your  rhinoceros  up  Southampton  street  to 

Convent  Garden  market." 

Polito — "  It  is  next  to  an  impossibility." 

Kemble — "  Were  it  an  impossilsility  I  would  do  it." 

Polito — "Suppose   any  accident   should   happen  —  the 

beast  is  valuable.     I  would  not  permit  him  to  be  led  down 

in  the  street  under  the  sum  of  ten  jruineas." 

Kcm])le— "  Here  are  ten  guineas,  Mr.  Polito— a  bargain. 

Lead  fortb  my  charger — speed  I  speed!" 

I'olitd  finding  that  he  could  not  get  rid  of  the  extra- 
ordinary application,  pocketed  the   ten  guineas,  and  told 

the  keeper  (who  was  on  intimate  terms  with  the  rhinoceros) 

to  l)ring  tlic  animal  out,  with  the  provision  that  it  was  to 


General  Theatrical  Eeminiscexces.        297 

go  no  further  tlian  Convent  Garden.  When  in  the  street, 
ridiculous  as  it  may  appear,  the  grave  John  Kemble 
actually  mounted  on  the  back  of  the  beast,  who  hardly 
knew  what  to  make  of  it,  but  led  in  the  strap  of  its  feeder, 
went  quietly  euough,  until  his  rider,  highly  elated  by  the 
achievement  of  his  whim,  thought  it  necessary  to  spur 
with  his  heels. 

Keeper — Gently,  sir.  Let  vel  alone.  This  is  raytlier  a 
crusty  buffer  ;  if  you  makes  him  unruly  he'll  pitch  you  off, 
and  rip  you  up." 

Kemble — "Kip  me  up!  Ha!  ha!  ha!  What  Avould 
they  do  at  Drury  ?" 

It  Avas  daylight ;  and,  of  course,  a  mob  was  collected 
from  Convent  Garden  market.  At  this  moment  Emery, 
who  was  also  returning  from  a  late  party,  saw  the  extra- 
ordinary cavalcade.  Emery,  somewhat  startled  at  the 
situation  of  Mr.  Kemble,  immediately  went  up  to  him,  and 
walked  by  his  side  to  the  top  of  Southampton  street,  when 
Kemble  deliberately  dismounted,  gave  a  crown  to  the 
keeper,  patted  the  rhinoceros,  saying,  "Farewell,  poor 
beast!"  and,  holding  Emery's  arm,  uttered,  "Mr.  Emery, 
I  have  doubtless  committed  a  very  silly  action  ;  but  after 
imbibing  a  certain  quantity  of  wine,  no  man's  deeds  are 
nnder  control ;  but,  nevertheless,  I  have  done  that  which 
uo  living  being  can  say  he  ever  accomplished. 

'•■ '  What  man  dare,  I  dare. 
Approach  thou  like  the  rugged  liussiau  bear, 
The  arm'd  rhinoceros .' 

"  Bless  my  soul,  I  am  getting  on  the  rhinoceros  again. 
Mr.  Emery,  will  you  have  the  goodness  to  see  me  home  ?" 


298        General  Theatrical  Reminiscences. 

Sol  Smith— A  Laughable  Episode— Act  First,  Scene 
First,  at  the  American  Theatre,  New  Orleans,  of 
which  Sol.  was  Manager. 

"  YoiCre  a  nice  young  man,  hut  you  canH  come  in  !  " — 
'•'  Hollo  there,  friend,  you  can't  come  in!"  said  a  faithful 
doorkeeper  one  day  to  a  tall,  eccentric  looking  individual, 
"vvho  was  hurrying  with  long  strides  into  the  new  Ameri- 
can Theatre. 

"  0,  just  allow  me  to  take  a  peep,"  said  the  tall  cus- 
tomer, stopping  and  turning  abruptly. 

'•  Can't  do  it,  sir.  My  orders  are  to  let  no  person  in  but 
the  owners  and  lessees." 

"  Is  Alonzo,  the  Spanish  prisoner,  confined  here  ?  "  said 
the  intruder. 

"  What!"  said  the  honest  doorkeeper,  opening  his  eyes, 
with  a  bewildered  expression,  at  the  question. 

"  Tell  me,  soldier,  hast  thou  a  wife  ?  "  said  the  stranger, 
grasping  the  poor  doorkeeper's  arm. 

"  Well,  I  reckon,"  said  the  man,  while  the  blood  flew 
from  his  cheek,  and  he  looked  into  the  tall  gentleman's 
eyes,  expecting  to  detect  some  symptoms  of  insanity. 

"  And  children  ?"  said  the  enquirer,  with  a  tragic  start. 

"Well,  mister,"  replied  the  doorkeeper,  "I  don't  know 
how  its  any  of  your  business,  but  I  reckon  I  is  got  a  small 
chance  of  a  family." 

"■  Here,  take  this  wedge  of  massive  gold ! "  exclaimed  the 
stranger,  picking  up  a  block  of  wood  that  Avas  lying  at  his 
feet,  and  thrusting  it  into  the  doorkeeper's  hand. 

The  man  looked  at  the  wood,  and  then  at  the  stranger, 
with  a  great  deal  of  astonishment,  and  then  said,  with  very 
solemn  deliberation,  "  look  here,  now,  my  good  man,  it's 
pretty  clear  to  me  your  mother  don't  know  you're  out,  but 
it  won't  do  for  you  to  come  fooling  in  this  way  'round 
me.  You  may  be  a  very  nice  young  man,  but  you  canH 
come  in ! " 


General  Theatrical  Eeminiscences.        299 

"Well,  well/'  said  the  stranger,  laughing,  "you're  a 
trusty,  honest  fellow,  and  you'll  find  I'll  like  you  the  bet- 
ter for  it  liereafter.  So  let  me  pass,  for  I'm  in  somewhat 
of  a  hurry." 

"  You  can't  come  in,  friend,  I  tell  you.  Who  are  you, 
any  how  ?  " 

"  You  don't  knoAV  me,  my  good  man  ?  " 

"Well,  I  don't." 

"  My  name  is  Smith." 

"  You  don't  say  so !  How  is  Mrs.  Smith  and  the  family  ? 
and  what  has  become  of  John  ?" 

The  stranger  gave  vent  to  a  hearty  langh. 

"  You  may  laugh,  neighbor,  as  much  as  you  please,  but 
you  can't  come  in!" 

"  My  name  is  Sol.  SinWi,^'  said  the  individual,  changing 
his  tone,  and  assuming  that  dignified  manner  and  grace- 
ful attitude  peculiar  to  him;  "I  have  just  got  here  from 
the  Gen.  Pratte,  which  is  still  aground  five  hundred  and 
seventy  miles  above  Vicksburg.  I  am  the  lessee  of  this 
establishment,  and  I  like  your  attention  to  business.  You 
shall  retain  your  situation  as  one  of  my  doorkeepers  as  long 
as  you  please;  and  now,  sir,  please  allow  me  the  favor  of 
passing  in  for  a  few  moments. 

The  man  fell  upon  his  knees,  just  as  Triptolimus  Mud- 
dlework  did  before  Charles  XII,  and  Sol.,  waving  his  hand 
graciously,  walked  in. 


300        General  Theatrical  Reminiscences. 


GREEN  ROOM  DROLLERIES. 

Cora's  Child  and  Pizarro,  an  Incident  in  Forrest's 
Dramatic  Career— "What  Good  Comedy  Is— Ham- 
let's Madness. 

A  beautiful  little  girl  with  large  and  lustrous  dark  eyes, 
just  old  euougli  to  chat  interestingly,  was  playing  Cora's 
child  in  Pizarro.  She  had  a  very  pretty  little  pair  of  red 
sandals  upon  her  feet  which  seemed  to  excite  in  her  a  great 
deal  of  curiosity.  First  she  would  lift  up  one  foot,  and 
then  another,  to  admire  the  fanciful  shoes,  keeping  the  au- 
dience laughing  so  that  not  a  word  spoken  by  Alonzo  or 
Cora  could  be  heard. 

The  young  lady  personating  Cora  was  an  elder  sister 
of  the  child,  and  as  she  held  it  by  the  hand  she  com- 
menced squeezing  and  pinching  its  little  fingers  to  make 
it  keep  quiet  and  not  set  the  audience  laughing.  After 
standing  this  for  some  time,  the  spirited  little  girl — her 
lips  pouting  and  her  eyes  seemingly  just  about  to  launch 
forth  a  cataract  of  tears — suddenly  pulled  her  hand  free 
from  Cora,  and  running  to  Rolla,  who  was  just  entering, 
she  exclaimed,  calling  him  by  his  proper  name,  "  Mr.  For- 
rest, 2ront yon  make  Sis  stop  pinching  me?" 

The  audience  had  been  all  along  tickled  half  to  death, 
and  at  hearing  this  the  whole  house  went  off  into  the 
wildest  outbreak  of  fun. 

Little  Alonzo  and  the  sandals  formed  after  this  nearly 
the  whole  interest  of  the  play,  and  in  another  scene  the 
aiulience  were  favored  with  a  still  more  ludicrous  effect 
arising  out  of  the  child's  independent  spirit. 

Cora  leaves  her  child  sleeping  on  a  bank  while  she  runs 
to  answer  the  call  of  Alonzo.  Now  this  part  of  the  busi- 
ness the  little  girl  didn't  like.  Two  Spanish  soldiers  were 
to  seize  and  carry  her  Off.  and  at  rehearsal  in  the  morninsr, 
iho  nifu  had  used  her  ungently,  so  that  she  was  not  in- 


General  Theatrical  Reminiscences.        301 

cliiied  to  submit  again  to  the  operation.  As  soon  as  Cora 
turned  from  her,  she  lifted  her  head  (though  she  should 
have  been  asleep),  watched  her  sister  off  the  stage,  looked 
at  the  Spanish  soldiers  coming,  and  then  quietly  walked 
off  0.  P.,  saying  to  the  audience  with  a  pretty  courtesy, 
"/7Z  come  and  play  this  for  you  to-morrow  day  !  " 


"What  Grood  Comedy  Is. 

"  Comedy  is  '  a  graceful  ornament  to  the  civil  order — 
the  Corinthian  capital  of  polished  society.'  Like  a  mir- 
ror it  reflects  the  images  of  grace,  gaiety,  and  pleasure, 
and  completes  the  perspective  of  human  life.  To  read  a 
good  comedy,  is  to  keep  the  best  company  in  the  world, 
where  the  best  things  are  said,  and  the  most  amusing  hap- 
pen. The  wittiest  remarks  are  ever  ready  on  the  tongue, 
and  the  luckiest  occasions  are  always  at  hand  to  give  birth 
to  the  happiest  conceptions.  We  don't  know  which  to 
admire  most — the  observation,  or  the  answer  to  it.  In 
turning  over  the  pages,  or  witnessing  the  performance  of 
the  best  comedies,  we  are  almost  transported  to  another 
world,  and  escape  from  this  dull  age  to  one  that  was  all 
life,  and  whim,  and  mirth,  and  humor."  This  is  the  opin- 
ion of  a  well-known  English  author,  and  a  very  just  one 
it  is:  we  admire  comedy,  'tis  a  picture  of  life,  as  it  was,  as 
it  is,  and  as  it  ever  will  be, 

" a  walkiug  shadow — a,  poor  player. 


That  struts  and  frets  his  hour  upon  the  stage.'" 

Therefore,  since  "grieving 's  a   folly,"  like  true  philoso- 
phers, we  say, 

"■With  mirth  and  humor  let  old  -wrinkles  come  ; 
For  why  should  man,  whobe  blood  i.s  warm  within, 
Sit  like  his  graudsire  cut  in  alabaster  ?  " 


302        General  Theatrical  Eemixiscences. 

Hamlet's  Madness. 

The  question  of  the  madness  of  Hamlet  has  been  a 
good  deal  discussed  and  variously  decided,  as  Avell  in  Ameri- 
ca as  Europe,  and  the  very  highest  medical  authority 
has  pronounced  upon  this  much  mooted  question.  But, 
as  an  eminent  writer  remarks,  the  induction  has  been  drawn 
from  too  narrow  premises,  being  based  on  a  mere  diagno- 
sis of  the  case,  and  not  on  an  appreciation  of  the  charac- 
ter in  its  completeness.  We  have  a  case  of  pretended 
madness  in  the  Edgar  of  King  Lear ;  and  it  is  certainly 
true  that  that  is  a  chai'coal  sketch,  coarsely  outlined,  com- 
pared with  the  delicate  drawing,  the  lights,  shades,  and 
half-tints  of  the  portraiture  in  Hamlet.  But  does  this 
tend  to  prove  that  the  madness  of  the  latter,  because 
truer  to  the  recorded  observation  of  experts,  is  real,  and 
meant  to  be  real,  as  the  other  to  be  fictitious  ?  Xot  in  the 
least,  as  it  appears  to  me.  Hamlet,  among  all  the  charac- 
ters of  Shakspeare,  is  the  most  eminently  a  metaphysician 
and  ps3'Chologist.  He  is  a  close  observer,  continually  ana- 
lyzing his  oAvn  nature  and  that  of  others,  letting  ffill  his 
little  drops  of  acid  irony  on  all  who  come  near  him,  to 
make  them  show  what  they  are  made  of.  Even  Ophelia 
is  not  too  sacred,  Osrick  not  too  contemptible  for  experi- 
ment. If  such  a  man  assumed  madness,  he  would  play 
his  part  perfectly.  If  Shakspeare  himself,  without  going 
mad,  could  so  observe  and  remember  all  the  abnormal 
symptoms  as  to  be  able  to  reproduce  them  in  "  Hamlet," 
why  should  it  ])e  beyond  the  power  of  Hamlet  to  repro- 
duce them  in  himself?  If  you  deprive  Hamlet  of  reason, 
there  is  no  truly  tragic  motive  left.  He  would  be  a  fit 
8ul)ject  for  Bedlam,  but  not  for  the  stage.  We  might  have 
l)athology  enough,  but  no  pathos.  Ajax  first  becomes 
tragic  when  he  recovers  his  wits.  If  Hamlet  is  irrespon- 
sible, the  whole  play  is  a  chaos.  That  he  is  not  so  miglit  be 
proved  by  evidence  enough,  were  it  not  labor  thrown  away. 


CHAPTER   XLY. 

Theatrical  Emeute. 

Farrex,  ax  English  Actor,  slurs  the  American  Ch\racter — 
He  Refuses  to  make  a  Retractiox — Is  xot  Allowed  to  Ap- 
pear AT  His  own  Benefit — Mob  Takes  Possession  of  the 
Stage — Forrest  to  Play  Metamora — He  makes  a  Speech 
TO  the  exasperated  Crowd. 

Many  old  play-goers  will  no  doubt  remember  something 
of  the  great  theatrical  riot  at  the  New  York  Bowerv  The- 
atre,  July,  1834,  which  was  hardly  surpassed  by  the  great 
Kean  and  Anderson  riots  that  took  place  in  New  York 
several  years  previous.  The  disturbance  was  caused  by 
the  publication  of  an  affidavit  of  one  Abraham  Curtiss, 
who  deposed  that  Farren,  the  actor,  (Farren  was  the  hus- 
band of  Mrs.  Farren,  the  talented  actress  who  was  attach- 
ed to  Frank  Lawlor's  company  at  the  Division  Street  The- 
atre.) belonging  to  the  Bowery  Theatre,  had  spoken  dis- 
respectfully of  the  American  nation,  and  when  requested 
to  retract  his  objectionable  language  he  repeated  it  and 
actually  struck  the  deponent.  This  took  place  at  a  hotel 
near  the  Bowery  Theatre  on  Saturday  evening,  and  the 
Monday  night  following  was  set  apart  for  Farren's  benefit. 
A  contradiction  of  the  charges  contained  in  the  affidavit 
Avere  published  in  the  post  bills  of  the  theatre. 

Very  early  in  the  evening  the  performance  commenc- 
ed— Metamora  being  the  first  piece,  Forrest  taking  the 
principal  character.  The  play  had  progressed  to  the  first 
scene  of  the  third  act,  and  Mr.  Forrest  had  just  made  his 


304        General  Theatrical  EEiiiNiscExcES. 

exit  from  the  stage  Aviie]i  the  people,  who  had  congregated 
in  immense  numbers  outside  of  tlie  theatre,  made  a  rush 
and  soon  filled  all  parts  of  the  house.  The  scene  which 
ensued  batfles  all  description.  Few  ladies  were  present,  as 
it  had  been  anticipated  there  would  be  a  disturbance, 
and  those  few  were  obliged  to  jump  from  the  windows  and 
escape  through  an  alley  to  an  adjoining  street. 

Those  dissatisfied  bavins:  2'ot  possession  of  the  sta<^e  re- 
fused  to  permit  the  play  to  proceed,  and  demanded  the 
immediate  discharge  of  Mr.  Farren.  Mr.  Forrest  came 
out  and  said  that,  having  arrived  from  Philadelphia  late 
that  afternoon,  he  had  appeared  before  them  without  the 
slightest  intimation  or  knowledge  of  any  feeling  against 
Mr.  Farren.  This  explanation  was  received  with  hearty 
applause.  After  it  had  subsided  somewhat  Mr.  Hamblin 
attempted  to  make  an  address,  but  was  refused  a  hearing. 

A  second  demand  for  Mr.  Farren's  discharge  was  made, 
when  Mr.  Forrest  again  appeared  and  stated  that  Farren 
was  discharged,  and  asked  if  'the  play  should  proceed  ? 
This  question  was  at  once  decided  in  the  negative,  when 
the  curtain  fell,  and  the  house  remained  in  full  possession 
of  Mr.  Farren's  opponents.  The  utmost  disorder  prevail- 
ed, but,  with  the  exception  of  breaking  the  front  lobby 
doors,  no  damage  was  done.  The  room  was  cleared  about 
VI  o'clock,  and  the  doors  closed  without  any  renewal  of 
hostilities.  The  number  of  persons  who  had  at  one  time 
congregated  in  front  of  the  theatre,  could  not  have  been 
less  than  fifteen  thousand  I 

Four  English  actors,  viz.:  Kean,  Anderson,  PoAvers  and 
Farren,  have  been  very  summarily  dealt  with  for  the  un- 
just and  uncalled  for  remarks  or  insinuations  against 
American  institutions.  Happily  things  have  vastly  chang- 
ed since  those  events  occurred,  for  now  the  best  feeling 
exists  between  us  and  our  English  cousins,  individually  and 
otherwise.  Tlie  more  they  hear  and  see  of  Brother  Jona- 
tlian,  the  better  they  seem  to  like  him.    May  it  ever  be  thus. 


CHAPTER   LXVI. 

A  Convenient  Dramatic  Record. 

JS^AMES,  Ages,  and  Place  of  Birth  of  well-known  Actors,  Act- 
resses, YOCALISTS,  etc.,  of  THE  DRAMATIC  PROFESSION. 

A  large  number  of  names  of  prominent  members  of  the 
dramatic  profession  appear  throughout  this  work,  but  in 
order  to  render  a  reference  more  convenient,  Ave  have  em- 
bodied in  one  chapter  many  of  the  names  above  referred 
to,  as  well  as  many  others  which  do  not  appear  in  the 
body  of  this  work.  And  we  would  here  mention  that  for 
many  important  facts,  data,  etc.,  we  are  indebted  to  Col. 
T.  Alison  Brown,  whose  "  History  of  the  American  Stage  " 
is  one  of  the  most  concise,  and  really  valuable  works  on 
the  drama  extant,  and  to  the  profession  particularly,  it  is 
au  invaluable  record. 

Edmund  Kean,  born  in  England,  1797,  died  1833,  aged 
64  years.  His  son  Charles,  born  in  Ireland,  1811,  died 
1868,  aged  67. 

Charles  Gilfert,  first  manager  of  the  old  Albany  Pearl 
Street  Theatre,  born  in  Germany,  1797,  died  in  Xew  York, 
1829. 

George  Barrett,  first  stage  manager  in  Gilfert's  com- 
pany, and  the  finest  light  comedian  in  the  country,  born 
1794,  died  in  New  York  in  1860,  in  abject  poverty.  He 
was  the  leading  high  comedian  in  Gilfert's  Pearl  street 
company.  His  wife,  also  attached  to  Gilfert's  company,  a 
beautiful  Avoman  and  accomplished  actress,  died  at  the 
Sisters  of  Charity  Institution,  New  York,  1857;  both  of 
20 


306        General  Theatrical  Reminiscences. 

their   deaths,  under  the   sad  circnmstauces,  being  a  re- 
markable coincidence. 

Henry  Placide  —  whom  Forrest  pronounced  the  best 
actor  on  the  American  stage — born  1T99.  Mr.  Placide 
was  living,  in  1871,  on  his  beautiful  farm  on  Long  Island. 
We  think,  however,  he  is  dead. 

Edwin  Forrest,  born  in  Philadelphia,  March  9,  180G, 
died  Dec.  12,  1873,  in  the  67th  year  of  his  age. 

Edwin  Adams,  bora  in  Massachusetts,  1830,  is  39  years 
of  age. 

Lucius  Junius  Booth,  born  in  England,  1795,  died  1834, 
aged  52. 

Edwin  Booth,  his  son,  of  Booth's  Theatre,  born  in  Bal- 
timore, 1833,  is  in  his  41th  year. 

John  Wilkes  Booth,  also  son  of  Lucius  Junius,  born  in 
Baltimore,  1838,  was  35  years  of  age  when  he  was  killed. 

J.  B.  Booth,  the  oldest  son  of  the  elder  Booth,  born  in 
1821,  is  52  years  old. 

George  Boniface,  born  1833,  is  40  years  of  age.  Mrs. 
Boniface,  born  1840,  is  in  her  33d  year. 

John  Albaugh,  born  in  Baltimore,  1837,  is  33  years  old. 

Barney  Williams,  born  in  Dublin,  1828,  is  50  years  old. 

John  D.  Murray,  born  in  Edinburgh,  Scotland,  1849,  is 
24  years  old. 

Edward  Eddy,  born  in  Troy,  ilade  his  first  appearance 
on  the  stage  at  the  Albany  Museum,  when  quite  young. 
He  married  Miss  Mary  Mathews,  a  popular  actress,  who 
died  in  New  Orleans,  1865. 

Mrs.  Geo.  Farren  made  her  first  appearance  at  the  old 
Chatham  Garden  Theatre,  Xew  York,  when  a  mere  child, 
1824.  She  is  yet,  although  advanced  in  years,  an  excellent 
actress,  and  following  the  profession. 

Wm.  Emmet  Coleman,  born  in  Albemarle  county,  Va., 
1843,  is  30  years  old. 

George  Ryer,  born  in  New  York.     Made  his  first  appear- 


Gexekal  Theatrical  Remixiscexces.        307 

ance  at  Chiea2:o,  1847,  as  Hamlet.     One  of  the  best  "old 
men  "'  in  the  country. 

Mrs.  H.  E.  Baily,  born  in  Provideuce,  E.  I.,  1847,  is  26 
years  old. 

F.  J.  Morris,  born  in  Berkenhead,  1849,  is  24  years  old. 

Frank  Chanfrau,  born  in  New  York,  1824,  is  in  the 
49tli  year  of  his  ag-e.  ]\Irs.  Chanfrau,  born  in  Philadel- 
phia, 1837,  is  26  years  of  age. 

J.  E.  Xelson,  born  in  Xew  Orleans,  1855. 

George  A.  Hill,  born  in  Alban\^,  1839.  Commenced  his 
dramatic  career  as  "  property  man  "  at  the  Albany  ]\Iuseum. 

Jean  Davenport,  (Mrs.  Lander,)  born  in  England,  1830, 
is  43  years  old. 

Mrs.  D.  P.  Bowers,  born  in  1830,  is  in  the  43d  year  of 
her  age. 

Lester  Wallack,  born  in  New  York,  1819,  is  now  54 
years  of  age. 

Sothern,  (Lord  Dundreary,)  born  in  England,  1830,  is 
43  years  old. 

Mark  Smith,  son  of  "old  Sol.  Smith,"  born  1827,  is  44 
years  old. 

Eistori,  born  in  Italy,  1826,  is  47  years  of  age. 

"William  Warren,  the  eminent  comedian,  born  in  Phila- 
delphia, 1812,  is  53  years  of  age. 

C.  T.  Smith,  (Charley.)  born  in  England,  1817,  died  in 
Buffalo,  1869,  aged  51.  Charley  was  for  a  long  time  at- 
tached to  the  Albany  Museum  as  actor  and  stage  manager. 

Mrs.  Maeder,  (Clara  Fisher.)  born  in  England,  1811,  is 
62  years  of  age,  and  is  still  on  the  stage,  doing  the  role  of 
old  woman. 

Lucille  Western,  born  1843,  is  in  the  31st  year  of  her 
age.  In  1859,  was  married  to  J.  Harrison  Mead,  of  St. 
Louis. 

Helen  Western,  sister  of  Lucille,  born  1843,  died  at 
Washington,  1868,  in  the  25th  year  of  her  age.  Lucille 
and  Helen  Western  are  the  daughters  of  the  late  George 


308        General  Theatrical  Eemixiscexces. 

Western,  known  as  the  "  Great  Western."  His  imitative 
powers  were  most  remarkable.  He  would  imitate  the 
whistle  of  a  railroad  locomotive,  its  movements  from  its 
start  until  under  full  headway  so  perfectly  natural  us 
to  astonish  the  most  incredulous.  He  was  for  a  long  time 
at  the  Albany  Museum,  and  was  a  favorite.  He  died  at 
Binghamton  in  1858. 

Pauline  ^Markham,  born  in  England,  is  27  years  of  age. 

Maggie  Mitchell,  born  183.2,  is  in  her  38th  year. 

James  E.  Murdock,  born  in  Philadelphia  in  1812,  is  61 
years  old. 

Mrs.  James  A.  Gates,  born  in  1840,  is  aged  33  years. 

John  E.  Owens,  born  1823,  is  in  the  50th  year  of  his  age. 

Lydia  Thompson,  born  in  England,  is  35  years  old. 

E.  S.  Packard,  born  in  Albany,  is  aged  30. 

Adelini  Patti,  born  in  Madrid,  Spain,  is  in  the  30th 
year  of  her  age. 

Rosa  Rand,  born  in  Virginia,  1848.  She  was  reared  and 
educated  at  the  Convent  of  Xotre  Dame,  San  Jose,  Cali- 
fornia. 

Fanny  Davenport,  daughter  of  E.  L.  Davenport,  born 
1850,  is  23  years  of  age. 

Charles  S.  Kane,  born  in  Albany,  July,  1822,  died  Feb- 
ruary 4,  1873,  in  the  51st  year  of  his  age. 

Mrs.  John  Drew,  {7iee  Mrs.  Harry  Hunt,)  born  in  Eng- 
land, 1818,  is  in  her  55th  year. 

John  Drew,  born  in  Dublin,  Ireland,  1827,  died  1862, 
aged  35. 

Joseph  Jefferson,  (Rip  Van  Winkle.)  born  in  Philadel- 
phia, 1829,  is  44  years  of  age. 

Laura  Keene,  born  in  England,  1833,  is  in  her  40th  year. 

Frank  Lawlor,  born  in  Albany,  1835,  is  38  years  old. 

William  Duffy,  born  in  Albany,  1807,  inheriting  Eng- 
lish, Irish  and  Scotch  extraction.  His  first  appearance  on 
the  stage  was  at  the  old  Thespian  Theatre,  in  his  native 
city,  1822.     Afterwards  appeared  at  the  old  State  Street 


General  Theatrical  Reminiscences.        309 

Theatre,  corner  State  and  Eagle  streets.     Mr.  Duflfy  died 
March  12,  1836. 

Jenny  Lind,  born  1821,  in  Stockholm,  is  noAV  in  her 
52d  year. 

Frank  Mayo,  born  in  New  Orleans,  1829,  is  in  his  44th 
year. 

Ada  Isaac  Men  kin,  born  in  New  Orleans,  1835,  died  in 
Paris,  France,  in  the  Jewish  faith,  1868. 

Charlotte  Cushman,  born  in  Boston,  1814,  is  in  her  59th 
year. 

0.  W.  Conldock,  born  in  England,  1815,  is  58  years  of 
age. 

Henry  Drayton,  vocalist,  formerly  of  the  Eiching's  Opera 
Troupe,  born  in  Philadelphia,  1816,  died  1872,  aged  57. 

Joseph,  or  "■Master"  Burke,  born  in  Ireland,  1818,  is  in 
the  55th  year  of  his  age. 

Edward  Seguin,  born  in  New  York.  AYas  educated  at 
the  Royal  C'oniservatoire,Fiiv[s;  joined  the  Riching's  Opera 
Troupe,  1860,  and  in  1867  married  Miss  Zeadi  Harrison, 
the  present  accomplished  vocalist,  Mrs.  Seguin. 

Kate  Bateman,  born  in  Baltimore,  1843,  is  now  30  years 
old.  She  also  appeared  at  the  Albany  Museum  at  an  early 
age. 

William  Burton,  (Toodles.)  born  in  London,  1802,  died 
in  Xew  York,  1860,  in  the  61st  year  of  his  age.  When  he 
commenced  his  theatrical  career  his  foi-fe  Avas  tragedy. 
He,  like  so  many  of  the  dramatic  profession,  was  brought 
up  a  printer.  He  made  his  first  appearance  in  this  coun- 
try in  Philadelphia,  1834,  doing  Allapod,  in  the  "  Poor 
Gentleman."  He  married  the  widow  of  the  celebrated 
actor,  Hilson,  who  was  the  first  to  represent  "Paul  Pry" 
in  this  country,  and  Avho  was  one  of  the  dramatic  company 
of  the  old  NcAV  York  Park  Theatre.  Burton's  fascial 
powers  were  truly  remarkable,  probably  surpassing  any 
actor  in  the  two  hemispheres. 

Walter  Keeble,  born  in  Walworth,  England,  1822.  is  in 


310        General  Theatrical  Eeminiscences. 

the  51st  year  of  his  age.  Commenced  his  professional 
career  in  Dublin,  Ireland,  Avhen  about  19  years  old.  Is 
the  present  popular  manager  of  the  Capitol  Theatre, 
Albany. 

EdAvard  L.  Mortimer,  born  in  Baltimore,  Md.,  1838,  is 
35  years  old. 

Charles  Waverly,  born  in  London,  1841,  is  in  the  35th 
year  of  his  age. 

James  E.  Nugent,  born  in  Boston,  1843,  is  30  years  old. 

Mrs.  J.  E.  Xugent,  born  in  Calais,  Maine,  1847,  is  26 
years  old. 

E.  C.  McCall,  born  in  Albany,  1848,  is  in  his  25th  year. 

Miss  Caroline  Weidman,  born  in  Albany,  1851,  is  22 
years  old. 


CHAPTER   LXVII. 

Amusements  in  New  York  as  compared  with  Paris. 

The  total  receipts  of  the  A-arioiis  theatres,  dancing  sa- 
loons, concerts,  and  other  places  of  public  amusement  in 
the  city  of  Paris,  in  the  month  of  November,  1872,  it 
would  appear,  amounted  to  1,915,864  francs,  equivalent  to 
$833,172.  Tlie  average  weekly  expenditures  for  amuse- 
ments in  Paris,  therefore,  was  nearly  ninety-six  thousand 
dollars  for  the  whole  month  of  November. 

Paris  has  thirteen  theatres,  including  the  Opera  House, 
the  Fraucais,  Odeon,  Opera  Coniique,  Lyrique,  Gymnase, 
Palais-Royal,  Vaudeville,  Varictes,  Bouffes  Parisiens, 
Athenee,  Porte  St.  Martin,  and  tlie  Ambigii. 

JSTew  York  also  has  thii'teen  theatres — the  Grand  Opera 
House,  Academy  of  Music,  Wallack's,  Olympic,  Booth's, 
Niblo's,  Fifth  Avenue,  Bowery,  Stadt  Theatre,  Theatre 
Coniique,  Wood's  Museum,  Tammany,  and  tlie  French 
Theatre. 

It  is  a  curious  fact  that  in  the  same  month  of  whicli  Ave 
have  the  Parisian  record,  the  amounts  receiA^ed  at  places 
of  public  amusement  in  New  York  fell  short  only  seA'en- 
ty-tive  thousand  dollars  of  the  sum  expendtjd  in  simihir 
ways  in  Paris.  According  to  tlie  internal  revenue  returns 
for  November,  the  thirteen  places  in  Ncav  York  in  Avhicli 
tlieatrical  performances  are  given,  together  Avith  the  cir- 
cus and  the  three  companies  of  negro  minstrels,  received 
$307,994  in  that  month.  Tliis  AA'as  an  aA-erage  of  seventy 
thousand  dollars  a  Aveek. 


312       General  Theatrical  Keminiscences. 

The  full  returns  were: 

Grand  Opera  House $17,385 

Wallack's 34,488 

Olympic 26,204 

Booth's 33,814 

Academy  (miscellaneous) 22,749 

Tammany 18,928 

Wood's  Museum 14,000 

New  York  Circus 18,225 

Theatre  Comique 11,468 

Kiblo's 38,450 

Tony  Pastor's 8,258 

French  Theatre 10.273 

Stadt 11,452 

Bowery 10,973 

San  Francisco  Minstrels 8,050 

Bryant's  Minstrels 11,400 

Fifth  Avenue  Theatre 11,697 

Total $307,994 

New  York  has  about  one-half  the  population  of  Paris, 
but  its  patronage  of  amusements,  as  well  as  the  character 
of  the  plays  and  entertainments  provided  for  the  public, 
show  that  it  is  running  a  close  race  with  the  greater  and 
older  city.  New  York  has  a  population  of  about  one  mil- 
lion, and  spends  $70,000  a  week  for  amusements.  Paris, 
with  a  population  of  over  two  millions,  expends  $96,000  a 
week  for  similar  puri)Oses.  Paris,  Avith  twice  the  popu- 
lation of  New  York,  leads  her  only  $26,000. 


CHAPTER  LXVIII. 

Interesting  Historical  Record. 

A  Complete  History  of  Theatres  and  other  places  of  Public 
Amcsemext  Destroyed  by  Fire,  in  the  United  States,  from 
1798  TO  1873. 

By  way  of  an  addenda,  perhaps  few  subjects  would 
be  more  appropriate  to  this  work,  or  would  be  read  with 
more  interest,  especially  by  those  interested  in  theatri- 
cal matters,  than  the  subjoined  very  perfect  history  of 
theatres  and  other  places  of  public  amusement  destroyed 
by  lire,  witJiin  the  past  seventy-five  years,  in  the  United 
States. 

In  Europe,  the  existence  of  a  theatre,  as  shown  by  sta- 
tistical tables,  is  about  twenty  years,  and  in  this  country 
their  existence  is  much  less.  Tlie  interior  of  these  struc- 
tures beincj  of  the  most  combustible  character,  when  the 
fire  gets  a  start,  it  has  a  vast  area  in  which  to  operate, 
generally  successfully  defying  all  efforts  to  extinguish  it. 
It  will  be  seen  that  the  largest  bulk  of  the  fires  have  oc- 
curred since  1840 — a  period  of  little  more  than  thirty 
years  only.  Only  eight  of  the  above  list  bear  date  prior 
to  1830,  making  nearly  two  theatres  a  year  on  an  average, 
since  that  time. 

Federal  Street  Theatre,  Boston,  February  2,  1798. 
Daniel  Bowen's  Museum,  Boston,  January  15,  180.3. 
Chestnut  Street  Theatre,  Philadelphia,  April  30,  1820. 
Park  Theatre,  New  York,  July  4,  1821. 
Eichmond  Theatre,  Richmond,  December  16,  1821. 


314        General  Theatrical  Reminiscences. 

Tlieatre,  Xatcliez,  Miss.,  Scptemljcr  5,  1822. 

liowery  Theatre,  Xew  York,  May  28,  1828. 

Liifavette  Theatre,  Kew  York,  1829. 

Caldwell's  Theatre,  Cincinnati,  October  22,  1830. 

Richmond  Hill  Theatre,  Xevv  York,  July  4,  1831. 

Front  Street  Theatre,  Baltimore,  January  5,  1833. 

Cook's  Theatre,  Baltimore,  February  2,  1838. 

Mobile  Theatre,  Mobile,  February  6,  1838, 

Bowery  Tlieatre,  New  York,  February  18,  1838. 

New  Theatre,  Charleston,  S.  C,  April  27,  1838. 

National  Theatre,  New  York,  Sept.  23,  1839. 

National  Theatre,  New  York,  May  29,  1841. 

St.  Charles  Theatre,  New  Orleans,  March  13,  1842. 

American  Theatre,  New  Orleans,  July  29,  1842. 

Old  American  Theatre,  Cincinnati,  September  22,  1842. 

State  Theatre,  Mobile,  November  13,  1842. 

Providence  Theatre,  Providence,  October  24,  1844. 

National  Theatre,  "Washington,  March  5,  1845. 

Bowery  Theatre,  New  York,  April  25,  1845. 

Niblo's  Theatre,  New  York,  December  18,  1846. 

l»ark  Theatre,  New  York,  December  16,  1848. 

Avon  Theatre,  Norfolk,  Va.,  February  14,  1850. 

Theatre  Lafayette,  Ind.,  March  18,  1850. 

AVood's  Museum,  Cincinnati,  July  15,  1851. 

American  Theatre,  Sacramento,  Cal,  1852. 

National  Theatre,  Boston,  April  22,  1852. 

American  Theatre,  Placerville,  Cal.,  January  30,  1854. 

Chinese  Museum,  Philadelphia,  July  15,  1854. 

National  Theatre,  Philadelphia,  July  15,  1854. 

Placide's  Varieties,  New  Orleans,  November  21,  1854. 

Vanaucchi's  Museum,  New  Orleans,  May  6,  1855. 

Metropolitan  Theatre,  San  Francisco,  Cal.,  1857. 

Lyceum  Theatre,  San  Francisco,  Cal.,  1859. 

Forrest  Theatre,  Sacramento,  Cal.,  1861. 

Marysville  Theatre,  Mai-ysville,  Cal.,  November  17,  1864 

liarnum's  Museum,  New  York,  -Inly  13,  1865. 


General  Theatkical  Keminiscences.        315 

Bowery  Theatre,  St.  Louis,  October  6,  1865. 
Butler's  American  Tlieatre,  N.  Y.,  February  15,  1866, 
Pike's  Opera  House,  Cincinnati,  IMarch  22,  1866 
Academy  of  Music,  New  Yorlc,  May  22,  1866. 
Academy  of  Music,  Cincinnati,  July  12,  1866. 
New  Bowery  Theatre,  New  York,  December  18,  1866. 
Opera  House,  St.  Louis,  February  28,  1866. 
Winter  Garden,  New  York,  March  23,  1867. 
Varieties,  Philadelphia,  June  19,  1867. 
Academy  of  Music,  Albany,  January  29,  1868. 
American  Theatre,  San  Francisco,  February  16,  1868. 
Barnum's  Museum,  New  York,  March  3, 1868. 
Butler's  American  Theatre,  N.  Y.,  April  8,  1868. 
Theatre  Comique,  New  York,  December  4,  1868. 
Olympic  Theatre,  New  Orleans,  December  23,  1868. 
Olympic  Theatre,  Detroit,  January  23,  1869. 
Opera  House,  Dayton,  Ohio,  May  16,  1869. 
Theatre,  Atlanta,  Georgia,  May  28,  1869. 
Metropolitan  Theatre,  Rochester,  November  6,  1869. 
Gaiety  Theatre,  Milwaukee,  Wisconsin,  November  15, 1869. 
Theatre.  Galveston,  Texas,  December  3,  1869. 
Variety  Theatre,  Helena,  Montana  Territory,  Nov.  7, 1869. 
Opera  House,  Lafayette,  Indiana,  December  24,  1869. 
Opera  Hall,  Indianapolis,  Indiana,  January  17,  1870. 
Varieties  Theatre,  New  Orleans,  December  1,  1870. 
Adelphi  Theatre,  Boston,  February  5,  1871. 
^IcVicker's  Theatre,  Chicago,  October  9,  1871. 
Crosby's  Opera  House,  Chicago,  October  9,  1871. 
Hooley's  Opera  House,  Chicago,  October  9,  1871. 
Dearborn's  Theatre,  Chicago,  October  9,  1871. 
Olvmpic  Theatre,  Chicago,  October  9,  1871. 
Niblo's  Garden,  New  York,  May  6,  1872. 
Lina  Edwin's  Theatre,  New  York,  November  28,  1872. 
Barnum's  Circus,  New  York,  December  24,  1872. 
Fifth  Avenue  Theatre,  New  York,  January  1,  1873. 


316        General  Theatrical  Reminiscences. 

A  Lucky  Theatre. 

On  the  morning  of  April  34, 1834,  the  old  Albany  Pearl 
Street  Theatre  came  A-ery  near  being  destroyed  by  fire.  It 
canght  from  a  vent  in  the  chimney  in  Avhich  some  shavings 
were  burning.  The  fire  had  communicated  Avith  some 
scenery  which  was  standing  against  the  chimney.  In  five 
minutes,  had  the  fire  not  been  discovered,  it  Avould  have 
been  utterly  impossible  to  have  saved  the  Theatre.  Sev- 
eral slight  fires  occasionally  occurred  in  this  Theatre,  bnt 
excited  little  alarm  or  caused  any  damage.  The  old  Pearl 
Street  Theatre  has,  probably,  been  one  of  the  most  fortu- 
nate in  the  United  States  in  regard  to  fires,  never  having 
been  burned  but  once,  (under  the  name  of  the  Academy 
of  Music,  in  1868,)  since  it  was  first  erected  in  1824 — 
nearly  fifty  years  ago. 


c/ 


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This  book  is  DUE  on  the  last  date  stamped  below. 


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